Rising to challenge of concert's variety

Internationally acclaimed opera singer Martin Snell has an extensive vocal repertoire that covers the spectrum from Monteverdi and Handel, through Mozart and Rossini to Richard Strauss and Wagner. He joins fellow opera stars in From Broadway to the Met.

Q & A with Martin Snell

What are your top two favourite songs from the programme and why?

We will be presenting a broad range of operatic repertoire encompassing staple arias, duets and ensembles from several centuries and in various languages,together with an
equally mixed selection of more popular songs from Broadway musicals and other light entertainment composers.

My two favourite works are firstly Filippo's aria from Verdi's opera Don Carlos, Ella giammai m'amo, which is one of the greatest arias for a bass, where Filippo as King of Spain laments that Elisabetta de Valois, his intended bride, who is secretly in love with the king's son, the Infanta, Don Carlos, has never loved him. It is a challenge because of the vocal range as well as both the dramatic and dynamic contrasts required. Secondly, If I were a Rich Man from Fiddler on the Roof, has always been a great favourite ever since I first saw the film as a young boy. The challenge is the contrasting text which is a mixture of real singing and Sprechgesang, or spoken singing. It is also important not to make a
parody of the words but rather communicate the content of the character Tevye's sentiments and aspirations.

From opera to Broadway ... is this an easy transition?

Amongst the Broadway hits there are a couple of songs which I shall be singing for the first time. The challenge for me is that where a Broadway singer, performing up to eight times a week, relies upon the use of amplification I never perform with a microphone.
Nonetheless, it is essential to create a sense of intimacy. Often Broadway repertoire is better known than the opera arias on the programme.

Are you looking forward to such a varied programme?

The concert programme is intended to have a broad appeal - lollipops - something for
everyone and more. It is a challenge to sing such a varied repertoire, to pace oneself and
emphasise the variety whilst providing a welcome platform for the charity benefiting from the concert. With song recitals one endeavours to identify a theme or common language, highlighting one composer or a lyricist, which frames the programme. A varied programme, such as for the hospice concert, is every bit a challenge because of the mix of styles, languages and audience expectations.

Which is the hardest song you'll be singing?

The hardest song on the programme is a duet from Donizetti's comic opera, Don Pasquale, which is new to both soprano Grace Park and me.

You've recently been in the country, what are your plans for the next visit?

I have recently been in New Zealand for a semi-staged concert performance of
Mendelssohn's Elijah in Wellington and returned to Switzerland for several weeks
due to other commitments. Also to catch something of the emerging northern summer.
Following the hospice concert, I shall commence rehearsals in Auckland for Puccini's Madama Butterfly, which will be staged by New Zealand Opera in Christchurch. I shall remain in New Zealand until early August. After the Butterfly production I shall visit friends in Dunedin. I return to New Zealand twice more in the current year for concerts - Beethoven's Missa Solemnis in Auckland on October 31 and performances of Handel's
perennial Christmas favourite, The Messiah, in December in Auckland, Christchurch and
Dunedin. Additionally, I have concert engagements in Switzerland.