BY STEPHANIE ESLAKE
The Queensland Conservatorium Griffith University is about to perform a 21st-Century version of Mozart’s comic opera La Finta Giardiniera (The Fake Gardener) — complete with reality TV references.
It’ll have contemporary libretto from new Sydney writer Emme Hoy, it’ll be performed by emerging talent from the university’s orchestra, and it’ll have young star Cassandra Wright in the lead.
Cassandra holds degrees in music performance (and a University Medal among many other awards for doing so well during her studies, too). She has performed widely — and enhanced her knowledge of her craft through her additional degree in speech pathology.
So as she prepares to share her talent with Queensland audiences (before she immediately leaves us all alone to fly away and study at the Royal Academy of Music), we chat about her upcoming performance and future plans.
Cassandra, tell us in your words what The Fake Gardener is about.
At its core, this is a piece about love — in all its messy forms. Our production takes place on a reality television set — two of our leads actually get ‘married at first sight’. This then leads to a variety of issues, love triangles, and arguments!
It’s a comic opera — but why do you think its comedy stands the test of time? Why is Mozart still hilarious?
I think the core values of this piece stand the test of time because everyone can relate to at least one of the characters in it. Most people in the audience will be able to say, ‘Oh, I’ve been there’, at least once throughout. Ultimately, people still want the same things as they wanted when Mozart was writing this — to be loved and accepted.
There’s a new libretto from Emme Hoy. What’s the language like? Does it modernise the opera? Talk us through those words.
The libretto features dialogue in English, which really helps to bring the piece into the 21st Century. The dialogue is certainly modern and is quite different from the original Italian recitative.
In addition, we have updated translations of all of our music, which will certainly entertain audiences! I think our production will excite a younger generation of opera-goers while still offering the same poignancy and beauty that viewers expect from traditional opera.
You’re a headliner in this event, too. What have been the pressures or responsibilities that come with the privilege of the role?
One of the most enjoyable parts of working on this opera is how collaborative it has been. In our production, every role has significant importance, and our director has worked hard to ensure that every character’s story is told with honesty.
I have had a lot of fun playing The Fake Gardener, but it’s only through the strength of the cast as an ensemble that this show really comes to life!
As well as your study in music, you’ve also graduated with a degree in speech pathology. Talk us through how this informs your music performance and knowledge of voice.
My studies in speech pathology have definitely given me an interest in the structure and function of the voice. I think having a deep understanding of the way the voice works is important for any singer. Our instruments are invisible, and we carry them around with us every day, so everything we do can impact on our singing.
It’s really important to be educated on how to look after your voice, and I think my background in speech pathology has helped me in that regard.
You’ve performed an enormous amount of repertoire, and have been awarded an equally impressive number of achievements! Now, you’re about to duck off to London after this upcoming production — where you’ll be studying at the Royal Academy of Music! Congratulations! What parting message would you like to leave your fellow musicians in Australia?
I think as a young singer, it can be really easy to get caught up in what every one else is doing and comparing your process to someone else’s. I think that when it comes to taking the next step after undergraduate studies, you should do your research and come up with a plan that suits you — whether that means undertaking more formal studies, taking some time off to work with a singing teacher and vocal coach, developing your languages, or auditioning for a company, do what feels right for you!
I know it’s super tough, but try not to listen to other people’s opinions or feel deflated when other people seem to be ‘taking off’. We are all running our own race, and the beauty of our industry is that everyone’s course can be totally different.
See Cassandra perform in the Queensland Conservatorium’s new production of La Finta Giardiniera (The Fake Gardener), under the direction of Imara Savage and baton of Johannes Fritzsch, from 7-14 September at the Queensland Conservatorium South Bank.
CutCommon would like to wish Cassandra good luck in her studies at the Royal Academy of Music!
