Melody Mercredi is a member of Vancouver Opera Chorus, and made her debut as Barbarina in last month's The Marriage of Figaro. Assistant to Director of Artistic Planning, Nagisa Inoue, talks to Melody Mercredi about opera and beyond.
Q. Where are you originally from?
A. I was born in Port Hardy, BC, a tiny town on the northern part of Vancouver Island.
Q. When did you start singing or training in classical voice?
A. I have been singing since I can remember... all kinds of music. I just loved it! I started my formal training at age 15, but my voice didn't really come into it's own until my mid twenties.
Q. What made you choose this path?
A. I was inspired by a scene I saw in the movie Philadelphia, which had an aria sung by Maria Callas. I was fascinated by her voice, and wanted to be able to sing like her. When I started studying, I was instantly attached as I enjoy a challenge, and everything at first was a challenge. Anyone can sing, but not everyone can bust out a tune like an opera singer. I had to be one!
Q. Please tell us what inspires you.
A. Other artists who live eat and breathe their art. You can tell a true artist by their passion and dedication to it. It's their entire world, their love, sanctuary and also their misery.
Q. Please share with us your unique/funny experience.
A. My second contract with Vancouver Opera was Turandot in 2005. As we were slaves we were required to be on stage in our bare feet. We were asked to wear slippers backstage to avoid splinters and stubbing toes on set pieces, etc. In Act 3, the chorus was constantly on and off the stage, with various degrees of time in-between. One time slot was particularly long, so I put on my moccasins and watched the scene go on from the side wing.
Puccini’s music is so beautiful it is difficult to listen to without it taking you away. I was immersed and loving every minute of it. It gets so intense when Liu is about to sacrifice herself. Our cue was called, so on stage I went with my white furry moccasins, but with no clue that I even had them on. We were all on the floor, crouched down for about ten minutes.
When Liu died we all got up to exit the stage. I put my hand on the ground to lift myself out of my crouched position and felt the softest fluff from under my slave garb. I am pretty sure my heart stopped at that point. I couldn't get off stage fast enough, I was mortified!!! I was sure that I had blown my chances of ever singing with the opera again. Luckily for me, I am still singing with them, constantly getting immersed in the music behind the wings, but now very aware of what is on my feet before going on stage.
Q. Your favourite opera production?
A. Oh man, that's like asking me to pick my favorite pair of shoes! I have been enjoying so many fabulous productions that have been brought to the theatre via the Met broadcast. I have yet to see one that I haven't enjoyed.
Q. Your favourite non-opera production or music?
by their passion and dedication to it. It's their entire world, their love,
sanctuary and also their misery.
Q. Please share with us your unique/funny experience.
A. I have to say I have recently become a big fan of the Wen Wei dance crew. I have always appreciated dance, but after doing Nixon in China with them, I truly have a new love for dance...of course it helps that the male dancers were not hard on the eyes.
Q. Any summer plans?
A. I am extremely excited to be collaborating with Electro Cellist Cris Derksen, along with some other talents, all whom are of Aboriginal decent. It will have a traditional aboriginal feel, and with me in the mix it gives us that western art form feel. We are going to go beyond genres and, hopefully, even beyond the basic traditional versus contemporary question. Our goal is to create, collaborate and then perform. Love it!
Q. What would you like to be doing 40 years from now?
A. Smothering my grandkids with kisses.
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