Interview with Alastair Cooper-Golec

Tell us about your involvement with Victorian Opera in 2023.

I’m lucky enough to be the recipient of the Dr Michael Stubbs and Malcolm Roberts Victorian Opera Prize in 2023. This means I’m involved in several shows throughout the year. Firstly, I was in Melbourne, Cheremushki playing the scheming and villainous real estate agent, Drebednyov. The Big Sing and Mother’s Day concert is just around the corner and following that, I’m performing a featured chorus part in Idomeneo, as well as covering several roles. Quite a busy first half of the year!

Tell us about what your involvement in The Big Sing and Mother’s Day Concert.

I’ll be singing a couple of classic tenor arias in both concerts – Dies Bildnis from The Magic Flute and Una Furtiva from L’elisir d’amore. I’m also singing a very cute little French Duet with fellow Opera Prize winner, Syrah Torii.

What are some of your favourite operas or musicals?

I’m a sucker for anything by Puccini, but I especially love Tosca. I also a fan of Benjamin Britten (The Little Sweep was my first-ever production in 2004), and Albert Herring has a special place in my heart.

Into the Woods is my favourite musical, but I also was lucky enough to see Hadestown when I was in New York earlier this year, which is a jazzy, steampunk retelling of the Greek Myth of Orpheus and Eurydice (with which I’m sure opera fans are well-acquainted). I would love to see it in Australian theatres soon!

Tell us about your time working as a freelance singer in Melbourne. How have you found the transition from studying to being a professional musician.

Like most singers, building business acumen and creating a self-disciplined work schedule is one of the biggest challenges of freelancing, especially after the relatively structured university timetable. At the same time, it is an extremely freeing experience to pursue your goals and to forge your own path. I have never learnt more than I have when I’m in production in the theatre, working alongside incredibly talented peers, experienced singers, repetiteurs, and creative teams.

Do you have any recommendations for other artists wanting to follow similar career success as you have?

Find a teacher that you love, that makes you feel confident and at ease. Take opportunities to see as much theatre as you can (all theatre, not just opera). Get involved with productions and get stage experience, whether it be Victorian Opera’s emerging programs, chorus roles, independent companies, a university production – nothing can replace being in a rehearsal room and being onstage. There’s so much more, but those are my quick tips!

How did you first get into singing opera and art music?

I was lucky to grow up in a musical household and have always had singing around me. I loved singing in children’s choirs. When I was 9, I auditioned for a new initiative started by Richard Gill with Oz Opera to put on a children’s opera. I loved it so much I took part each year for the next 10 years, including Victorian Opera’s very first production, Noye’s Fludde in 2006.

You’re taking your friend to the opera for the first time. What opera do you take them to and why?

The first obvious pick would be Carmen, so many bangers! But I think English repertoire is often more accessible to beginners. I was really proud to have several first-time opera goers approach me after Melbourne, Cheremushki and express how much they loved it and how it had inspired them to see more opera. That’s a win in my book!

What is your favourite snack to have during an interval of an opera?

Maltesers. No contest.

What are you most looking forward to about your performance in Ballarat?

Although Syrah and I were both in Cheremushki, we were never really on stage at the same time, so it’s very exciting to finally sing together!