BVA ARCHIVE: Profiles
Interviewed by Stephanie Martin
Janice Chapman
Janice we all know that you were the Australian Broadcasting Company's secret weapon - they sent you over to the UK before Neighbours hit our screens so we were prepared for the Australian accent - but what excuse do you give for coming over?
I had been awarded scholarships and prizes to undertake post-graduate study at the Royal College of Music in the Opera School. After 42 years in the UK you'd think my Aussie accent would have modified somewhat but it has been lovingly cherished.
Now with miles of sunny beaches, Dame Edna and a wonderful Opera House back home, why have you stayed so long?
Many Australian expatriates, including Dame Edna live here in England. Our work and our lives developed in the UK and while we love to visit Australia twice a year, and adore the beaches and the life style, it seems we've been 'anglicised'. One of our sons lives over there, and one here, so we are destined to commute one way or another.
Can you tell me something of your musical journey - Was there a master plan or was it serendipity?
I was a 'singing child' in a family where music had been always part of normal life, especially vocal music. During my time at high school I was lucky enough to take part in 5 operas, graduating from a chorus member into a principal. From there I began having singing lessons at the Conservatorium in Adelaide while earning my living as a secretary. Later on I managed to earn a living as part of the ABC's small radio chorus for 3 years, while also doing a full time course at the University and singing as a soloist for anyone who would ask me.
After study in London I became a principal soprano with Sadler's Wells Opera and worked on and off for them, the English National Opera, Scottish Opera, Welsh National Opera, The English Opera Group and the Royal Opera House, Covent Garden. I sang such roles as Countess Figaro, Donna Anna Don Giovanni, Electra Idomeneo, Leonora Forza del Destino, Agathe Der Freischutz, Ellen Orford Peter Grimes, Aida, Abigaille Nabucco, Gertrude Hansel and Gretel, Mrs. Julian Owen Wingrave, Miss Jessel and Mrs. Grose The Turn of the Screw, Third Norn, Helmwige and Sieglinde Wagner's Ring Cycle I also sang in various European opera houses and concert venues, broadcast for the BBC and sang with some of the leading orchestras in concert.
In Canto number xxi Tennyson says, 'I do but sing because I must' Is that what it is like for you Janice, or is it something much more mechanical and less emotional?
I think that this is true of me. 'I do but sing because I must'. It has always been my preferred way of expressing myself artistically. In recent years my teaching has become more fulfilling and satisfying since it is so much more difficult than singing, but I imagine that I will continue to sing until I drop off the twig.
Who or what has been a major influence on your career?
My career as a singer was influenced by many people, including my very supportive husband John who had to suffer the ups and downs with me, only wincing occasionally. However as a teacher I have been hugely influenced by the multidisciplinary approach to voice, which we have developed in this country through the work of the BVA. I am currently engaged in writing about this in a book on my vocal pedagogy, and the way the multidisciplinary information has changed what we are able to achieve as singing teachers.
Can you ever see a time when you decide to 'give it all up' and retire, and if so, what would motivate you to do so?
I can certainly imagine a time when I will want to retire…but not just yet a-while I hope. I do not think it wise for singing teachers to continue if their mental powers, health, or faculties deteriorate. For example if my hearing diminished I would stop…it would be irresponsible not to. Teaching is very hard work and demands enormous concentration. I will cut down on the number of students, as and when I need to and keep going while I still have something to offer.
Janice you have been a major mover and shaker in the BVA since it began, with an outstanding record of service to the Association. What has sustained your interest over the years?
I have been so fortunate in being involved in the development of the multidisciplinary work in voice in the UK. At times this work has seemed difficult and onerous, but looking back, I see that I have received far more than I have ever given. I think that my involvement has empowered me to do a reasonably decent job as a teacher, carry out some fascinating research in collaboration with others, help people who have had voice problems, improve my own singing, and share with others the excitement of learning new things about this wonderful instrument - the human voice. I have been able to watch a whole new generation of young singing teachers evolving through the work of the BVA and changing the way singing is taught (for the better). I find this very heart-warming. The other activities, which have sustained me, have been my involvement in research into the singing voice with the National Voice Centre, University of Sydney and Opera Australia. I have also had the opportunity to interact with voice scientists in a less formal way by inviting them into the studio to get close to the singers and record some acoustic measurements.
When you encourage colleagues to join the Association how do you 'sell' it to them?
I find it a pleasure to describe the courses and study days etc. and encourage colleagues to join up. They often don't need much persuading. If they just attend one meeting it is usually enough.
How do you see the Association going forward into the 21st century - in fact is there still a need for such an Association?
I think that the BVA has a role to play throughout the 21st century. What we have set in motion in the past 15 years needs further development and consolidation. Our finances do not allow for much expansion at present, but I would like to see the membership increase. Within my own profession, I would love to see a project where a comprehensive training course for singing teachers could lead the way towards a Chartered status. This would go some way towards ensuring that the 'hit and miss' approach to teaching singing could be remedied. At present teachers are not held accountable, nor are we even inspected by a supervisory body, standards issues need to be addressed. I certainly do believe that there is an ongoing need for such an Association.
Who are, or have been, your heroes in the world of opera?
The heroes in the world of opera are the singers. It is a very tough, gladiatorial profession and demands enormous dedication and sacrifice. I have nothing but respect and admiration for anyone who can survive in the opera world and am dedicated to helping these singers achieve and sustain their professional careers.
Looking back on your career is there one moment that stands out for you - one perfect performance and if so can you tell us about it?
I suppose when I look back, one event stands out. It was a concert performance of Richard Strauss's 'Intermezzo' during the Camden Festival in 1964 right at the beginning of my career. I was still a student at the London Opera Centre, the soprano singing the main role of Christine withdrew at short notice and the conductor asked me to learn and sing the part. Although it was a very long and difficult role, I managed to acquit myself well, and received unanimous rave reviews (for the first and last time ever!). I remember the utter joy of singing, the enthusiasm of the audience on that night, and also the exhaustion I felt from the effort of learning, rehearsing and singing the part in such a short time.
You have recently been awarded a Medal of the Order of Australia in the Australia Day honours for your service to music - is there anything left to do?
Well there is the book, which will probably be another year in the finishing. I have a commitment to the BVA as its Treasurer, especially towards our hosting of the 2005 PEVOC 6 conference. Teaching and supporting my students continues to be both rewarding and demanding. Maybe I'll make it to that Australian beach with a fishing rod yet.
Janice Chapman is a recipient of the Medal of the Order of Australia.
