{"id":56231,"date":"2018-10-10T18:55:28","date_gmt":"2018-10-10T22:55:28","guid":{"rendered":"https:\/\/www.ludwig-van.com\/toronto\/?p=56231"},"modified":"2018-10-10T18:55:28","modified_gmt":"2018-10-10T22:55:28","slug":"interview-uncharted-waters-isaiah-bell-on-creating-antinous-in-hadrian","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2018\/10\/10\/interview-uncharted-waters-isaiah-bell-on-creating-antinous-in-hadrian\/","title":{"rendered":"INTERVIEW | Uncharted Waters: Isaiah Bell On Creating Antinous In Hadrian"},"content":{"rendered":"
\"(Photo:
Isaiah Bell (Photo: Chelsea Brooke Roisum)<\/figcaption><\/figure>\n

The Canadian tenor bares his soul on being a creative artist <\/em><\/strong><\/p>\n

T<\/span>o many artists, there\u2019s a special thrill to be the very first interpreter of a new operatic role, to be involved in the creative process from the very beginning. While it\u2019s great to follow in the footsteps of famous exponents of a role, there\u2019s something very special about tackling a project where there\u2019s no precedent, to collaborate with living creators in shaping a new piece, often composed with the singer in mind.<\/p>\n

Canadian tenor Isaiah Bell is just that lucky fellow, currently in Toronto rehearsing the role of Antinous at the Canadian Opera Company\u2019s world premiere of Hadrian<\/em>, a new opera by singer, songwriter, and composer Rufus Wainwright.\u00a0 This is Wainwright\u2019s second stab at the operatic genre. His first piece, Prima Donna<\/a>,<\/em> had its North American premiere at the 2010 Luminato Festival in Toronto. By the composer\u2019s own admission, its genesis was \u201ca nightmare.\u201d<\/p>\n

Now older and wiser, Wainwright is revisiting opera, an art form that he has loved all his life. He has chosen the story of the Roman Emperor Hadrian in his final days, focusing on his suppression of the Kokhba revolt in Judea, and most of all his relationship with Antinous.\u00a0 This represents the first opera with a central gay theme staged by the COC. The title role is taken by American baritone Thomas Hampson, in his COC debut. Bell is returning to the Company after his debut last season in Arabella<\/em>.<\/p>\n

This show has piqued the interest of the arts media in general for a variety of reasons, not least because it is Rufus Wainwright after all, a big name in the pop world. Then there\u2019s the subject matter of a gay love story. I don\u2019t ever recall the COC issuing a \u201cContent Advisory,\u201d to the effect that \u201cHadrian<\/em> contains nudity and scenes of a sexual nature\u2026recommended for audiences 18 or older.\u201d \u00a0A weekly journal on the COC website<\/a> has tenor Isaiah Bell sharing his thoughts on creating Antinous. Time is ripe for an interview with Bell:<\/p>\n

I just discovered your diary on the COC website. I give you full credit for doing this \u2014 it\u2019s like letting it all hang out! Is it your idea to write this diary?<\/em><\/strong><\/p>\n

No, they asked me. For me, it\u2019s a big deal to be honest about the (creative) process. A lot of people experience the full range of emotions going through the process. The idea is that if you talk about the process, you are not confident.\u00a0 But I feel it\u2019s possible to be confident that you can do a good job, and still experience these different feelings.<\/p>\n

How does it feel to be creating a new role? <\/em><\/strong><\/p>\n

A lot of the preparation hasn\u2019t been very different from roles that I have done before. One thing that is wonderful is there\u2019s no precedent, so you don\u2019t have the weight of great performances on you. When I am preparing a role in general, I don\u2019t listen to other singers very much \u2014 maybe a bit towards the end. You don\u2019t want someone else\u2019s voice in your head. In that regard, it hasn\u2019t been that different. [Rufus Wainwright] is writing it in a language inspired by traditional opera.<\/p>\n

How is the orchestration?\u00a0 <\/em><\/strong><\/p>\n

It\u2019s very interesting. He\u2019s a creative orchestrator, with lots of colours. He has an assistant, but he is responsible for the orchestration \u2014 he\u2019s very clear about it. He is a champion for interdisciplinary collaboration, between classical and pop, a sort of cross-pollination. He wants Hadrian<\/em> to be an opera, not cross-over or ‘popera’.<\/p>\n

Is he easy to work with? <\/em><\/strong><\/p>\n

Yes, he is an easy presence in the room, not overbearing. He offers his opinion, but he\u2019s not demanding or difficult. You can tell he\u2019s always listening and try to find a way to make it better.<\/p>\n

At the media preview, I overheard Hampson negotiating with him about changing some notes, and he\u2019s opened to it.\u00a0 <\/em><\/strong><\/p>\n

Yes, he is.<\/p>\n

Have you negotiated your music with him? <\/em><\/strong><\/p>\n

When I first got the score, they asked for comments.\u00a0 There was one part I felt it wasn\u2019t practical and perhaps could be adjusted.<\/p>\n

Did he accept the suggestion? <\/em><\/strong><\/p>\n

The one part I said wasn\u2019t doable, he recomposed it. Most of the things I brought to rehearsals, once he heard it, he said \u2018why don\u2019t you do this slight variation instead.\u2019\u00a0 There was one thing he wanted it to come out of the orchestra more, and I suggested that he takes it up a third, this one line, it will come out more. Other than that, I haven\u2019t really had much input.<\/p>\n

What is the range of your role?\u00a0 <\/em><\/strong><\/p>\n

Hmmm\u2026<\/em>I\u2019m trying to think. It\u2019s about C to C.<\/p>\n

He composed a high C for you? <\/em><\/strong><\/p>\n

It\u2019s in the ensemble, part of the texture. There are a couple of B-naturals that are more prominent.<\/p>\n

Do you have an aria? <\/em><\/strong><\/p>\n

Yes, a lovely aria in Act 3, a beautiful moment in the show. There\u2019s a beautiful trio which is also sort of a duet. And there are several scenes between Hadrian and Antinous.<\/p>\n

What is it like, working with seasoned veterans like Hampson and Mattila?\u00a0 <\/em><\/strong><\/p>\n

They both have been lovely to me \u2014 it\u2019s not a \u201ccompany line.\u201d We have this idea of the \u201cdiva\u201d which we hear in the pejorative context. Both are \u201cdivas\u201d in an inspirational way. They are survivors in a difficult industry; they are people with staying power. Just because they\u2019re established and well known and celebrated doesn\u2019t mean they have it all sewn up.<\/p>\n

They need to produce like everyone else. <\/em><\/strong><\/p>\n

It\u2019s interesting to see that they know what they need \u2014 they are divas in the sense that they have the confidence to say: \u201cthis is what I need to do well.\u201d It\u2019s actually very inspiring. As you come up the ranks, you don\u2019t want to ruffle feathers, don\u2019t want to be perceived as difficult in any way. Sometimes that comes at the cost of doing your best work. Sometimes you have to say: \u201cthis is what I need to do this scene, in order to do my job well.\u201d To see people with the confidence to say that \u2013 I find it inspiring. The industry can eat you up if you don\u2019t know how to stand your ground.<\/p>\n

I think an artist has to have a good sense of self. <\/em><\/strong><\/p>\n

Exactly \u2014 this diary is a lot about that.<\/p>\n

I do get the feeling of vulnerability in your journal. Not too many people are willing to open up like that. They maybe vulnerable inside, but they want to appear confident on the outside. To bring that to the outside, is like your skin is turned inside out\u2026\u00a0 <\/em><\/strong><\/p>\n

For me, in order to be vulnerable on stage, you need to be confident.<\/p>\n

You have to be confident before you can afford to be vulnerable<\/em><\/strong>.<\/p>\n

Exactly. I think that\u2019s really true. If I don\u2019t feel confident on stage, I will shut myself off from the audience. If the audience sense\u00a0that I am vulnerable, that I\u2019m open to them, that\u2019s because I am confident.<\/p>\n

On that subject of being confident onstage \u2014 I have to ask \u2014 do you take your clothes off in the show?\u00a0 <\/em><\/strong><\/p>\n

Well, I don\u2019t take it off completely. \u00a0All I\u2019ll say is I have three costumes, and none broke the fabric budget (smile)\u2026<\/p>\n

But you were draped all over in Act 2 which I saw at the media preview!<\/em><\/strong><\/p>\n

That\u2019s the most fabric I have\u2026<\/p>\n

Are you self-conscious? Have you taken your clothes off before onstage?<\/em><\/strong><\/p>\n

No, I\u2019ve never taken my clothes off.\u00a0 (In this show) I\u2019m surrounded by dancers who are scantily clad as well. It was six months before I got this gig that I first started exercising. When I got the gig, I asked if I have to take my clothes off. They said \u2018probably.\u2019\u00a0 Of course<\/em>\u00a0you are self-conscious, especially since the character is a famously beautiful historical figure! Hadrian made Antinous a god, and there are hundreds of statues of him. It\u2019s one thing when you are taking your clothes off and playing a regular person, but\u2026 One thing that was helpful was when the choreographer suggested that I start coming to rehearsals wearing tank tops and shorts. I don\u2019t own any tank tops and had to buy some! When I had to take it off the first time, it didn\u2019t feel weird.<\/p>\n

Have you thought of wearing a body stocking?<\/em><\/strong><\/p>\n

I don\u2019t see why. For me, if I had to be naked in this opera, I\u2019ll do it. It\u2019s not about that. It\u2019s about getting through that mental block, getting used to being seen in that way.<\/p>\n

I have to say you are not the typical opera singer, body-wise\u2026<\/em><\/strong><\/p>\n

I\u2019m thin.\u00a0 I do yoga, I walk a lot, and I watch what I eat. But I am not a model; I\u2019m an opera singer.\u00a0 The thing I was most self-conscious about was being surrounded by these beautiful dancers. Dancers are paid to be fit. It\u2019s a different kind of vulnerability.<\/p>\n

I read that you\u2019ve just sung a Cavalli opera in Innsbruck, playing a woman. It\u2019s very brave of you to do that.<\/em><\/strong><\/p>\n

Oh no \u2014 it\u2019s much braver to take your clothes off! I\u2019ve played a woman before, in Britten\u2019s Curlew River<\/em>. That was fine. My role (Cirilla in Gli amori d\u2019Apollo e di Dafne<\/em>) is comedic. I play a cleaning lady \u2014 there\u2019s a picture in my diary. A couple of years ago here, with Daniel Taylor\u2019s group, I sang Mopsa in Purcell\u2019s The Fairy Queen<\/em>, also a female character.<\/p>\n

What it\u2019s like doing a nude love scene?<\/em><\/strong><\/p>\n

To be honest, I was nervous. I had never played a gay character onstage before. You\u2019d think it\u2019s easier, but because it\u2019s new for me, I was nervous. We had an Intimacy Director, Siobhan Richardson.\u00a0 Having an Intimacy Director made it wonderful. It\u2019s all choreographed, like a fight on stage \u2013 you know exactly what\u2019s going to happen. This was Thomas Hampson\u2019s first love scene with a man. He was very frank with me, saying \u2018this is new for me, be patient please.\u2019 I didn\u2019t need to be, because he was extremely professional. It never felt awkward or uncomfortable. Everyone on the team has been great, Peter Hinton the director, and everyone else. Nothing feels gratuitous to me at all. Any content that\u2019s in there, it\u2019s there to tell a story.<\/p>\n

Well, that\u2019s wonderful to hear. My very best wishes for a successful opening!<\/em><\/strong><\/p>\n

****<\/p>\n

Hadrian<\/em> runs for seven performances (October 13 \u2013 27, 2018) at the Four Seasons Centre for the Performing Arts, 145 Queen St. W., Toronto.\u00a0 www.coc.ca<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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