You’re going to be featuring in Brisbane Chorale and Brisbane Philharmonic Orchestra’s upcoming performance of A Sea Symphony as the soprano soloist. What are you most looking forward to about performing this work?
I’m especially looking forward to being part of the sheer scale of A Sea Symphony. There’s something incredibly thrilling about singing with full chorus and orchestra in such a rich, expansive sound world. I’m also finding a lot of joy in singing something that feels so lyrical, expansive, and deeply expressive. This music really does feel luminous to sing. I can’t wait to hear it all come together in performance when the full forces bring that sound to life.
Which performers or artists have inspired you the most in your career and why?
I’ve always been inspired by singers who combine technical excellence with a strong sense of storytelling. Artists like Kiri Te Kanawa for her warmth of tone and elegance, and Jessye Norman for her extraordinary presence and emotional depth. They both remind me that it’s not just about singing beautifully, but about communicating something meaningful.
Closer to home, I’m incredibly inspired by Lisa Gasteen. The fact that a girl from Queensland went on to conquer the world stage, singing some of the most demanding roles in the biggest opera houses, is extraordinary. She’s a true hero to me, and a powerful reminder of what’s possible if you just believe and do the work.
What is your favourite concert or performance memory and what made it special?
One of my favourite performance memories is singing Four Last Songs on Mother’s Day in 2019 with the Brisbane Philharmonic Orchestra. It was my first time performing this monumental work, which felt both terrifying and incredibly special.
I’ve since had the chance to sing Four Last Songs several times, and each performance reveals something new in that magical music, but there’s something about a first that stays with you. That day was special for so many reasons. My parents came down from Townsville to be there, and it was also the first time my now partner had ever heard me sing. His parents came along too – perhaps to quietly suss me out at the start!
It all added up to a perfect day, both personally and musically, and I’ll always be so grateful to the Brisbane Philharmonic Orchestra for giving me the opportunity to perform such an extraordinary work.
Did you ever have any career in mind other than professional singer and if so, what was it?
Like many musicians, I did consider other paths at different stages, but music was always the constant. There was never quite the same sense of rightness in anything else, so I kept coming back to singing.
What advice would you give to young classical singers just starting out on their careers?
Be patient and curious. Take the time to build solid technique, and don’t rush the process. It’s also important to stay open to different repertoire, teachers, and experiences. Versatility is your superpower. And just as importantly, look after your wellbeing, because a sustainable career is a long game.
Do you have a favourite ‘party piece’ to sing from the soprano repertoire and if so, what is it and why is it your favourite?
I do! Two of my favourites are the Csárdás from Die Fledermaus and “Meine Lippen, sie küssen so heiß” (My lips kiss like fire) from Giuditta. They’re such fun to perform because they let me step into a more playful, theatrical side. I get to move around, be a little bit seductive, and really lean into that flirty and fun energy.
They’re the kind of pieces that instantly connect with an audience and create a sense of joy in the room, which makes them perfect ‘party pieces’.
