What qualities do you consider most important for any young artist setting out on an international performing career?

There is always that indefinable something, that ‘X factor’ I suppose we call it now…I prefer to say that somebody just has ‘it’ or they don’t. The ones that have ‘it’ are at a huge advantage when it comes to making a career…every time a panel of judges comes together that is what they are looking for. It is musical confidence and imagination, an ability to communicate any story with every audience member, an ease of performance…and then the vocal technique to bring all of that off!

As a much sought-after répétiteur, what are the necessary elements for a successful synergy between soloist and accompanist?

First of all I don’t like the word ‘accompanist’, and I know I am in very good company when I dare to say that! There are times when a pianist is the mere accompanist — playing the piano parts for a grade 3 violin exam, or something like that — but the repertoire that we do with singers is all duo repertoire. The singer and the pianist are equal partners in the music making. There are times when each one shines, and there are times also when each one accompanies the other. The Americans now call all such pianists ‘collaborative pianists’. I prefer just to be called ‘pianist’. When the pianist plays the piano reduction of an opera aria…is that ‘accompanying’? I think it is a combination of being both the conductor and the entire orchestra, so I don’t know what that is called!

With regards to the actual process of working together, it is vital that the pianist has a very good pair of ears and uses them! Other important elements include: listening to your own part and to the singer’s part at the same time; seamlessly moving from accompanying sections to singing sections, to more full orchestra sounds or a single harp sound; being able to move from style to style, from a German lied to a Handel aria, and understanding the different quality of sound to bring out of the piano to match the different music and different voices.

You are equally respected for your solo career, as you are for your work as a chamber musician and vocal coach — is it important to be versatile within the world of classical music?

I find it keeps you from stagnating…each aspect of what I do feeds back into the others. So, I bring the breathing of a singer into my piano playing, and suggest to singers that they approach a long note in the same way a violinist would play a long slow down bowed note.

Do you enjoy arts administration?

The arts administration is another part of the versatility of my profession. It brings a new energy to my coaching and performing career. I understand the business end of the career much better too from looking at it from that perspective. I get an equal thrill from successfully bringing off another Veronica Dunne International Singing Competition as I do from a great performance…though the amount of work that goes into something like that makes me really appreciate sitting at the piano again and ‘just’ making music!

I also enjoy meeting and getting to know the powers behind the young artist programmes in the European and American opera houses, and then helping to connect our talented young singers with them. At the end of the day, it’s all about synergies and similar minded people working towards the best possible music making.