You’ll be performing the baritone/bass roles in the upcoming performance of ‘The Dream of Gerontius’ with Brisbane Symphony Orchestra and Brisbane Chorale. Tell us about what this work means to you.

This work, like all the works I have performed, holds a special place in my career and life. There is often a personal connection with life, feelings, emotions and wellbeing that influence my performance, remembering that all influences are personal, particular and peculiar to us all as individuals.

Do you have any special memories associated with performing in this work?

The first time I performed this work under the baton of Emily Cox, I remember standing in the organ loft with an uninterrupted view of the venue and being permitted to absorb the sound of both the orchestra and choir.

When did you first know you wanted to be a singer?

I sang the minute I was born, and through choirs in schools, singing lessons, roles in amateur productions and semi-professional productions, chorus here in Australia, America and finally London, it became evident that this would be the path I followed.

Did you ever have any career in mind other than professional singer and if so, what was it?

Like many children, I wanted to follow my father and be a dentist. I wasn’t great at the science subjects so that dream didn’t last long!

What advice would you give to young classical singers just starting out on their careers?

Before seeking a career, have your technique secure and research the actual business of being a singer. The performance is just one part of the business.

Do you have a favourite ‘party piece’ to sing from the baritone repertoire and if so, what is it and why is it your favourite?

I have been fortunate to sing many great “Party Pieces” from the Baritone repertoire, so to pick just one could be seen as favouritism and shame the others not selected. The piece I am currently singing is my favourite.