Daïmon Opera have established themselves as the finest young operatic collective in the UK
Hello Héloïse, so where are you from and where are you living today?
I’ve moved to Scotland to do my masters in Vocal Performance at the RCS about 3 years ago, after living and studying in the Netherlands and in Estonia. I am from France, I was born and raised in Paris, until I left to complete my music studies.
Can you tell us about your studies?
I studied French Literature in France and completed a research masters specialising in the 18th century clandestin literature. In France, I have followed a training in Drama at the Conservatoire of Creteil. I started studying singing after that, first in the Netherlands, than Estonia, and ended up for my Masters in Scotland.
As a musician, what inspiration have you drawn from each of the countries you have studied in?
In France, I developed a serious attention to the text, an appreciation of how powerful (or meaningless!) words can be, and a very particular approach to work and research. This is part of French specificity and I am very grateful for this initial background. The couple years when I studied singing in France were also extremely rich in musical discoveries: the class of Alexandra Papadjiakou was a mine for old and new unknown works, and a place of excellency, whatever style was brought to the class. This first year, I mainly listened to other singers but it drew my standards quite high! The Netherlands was a quick stay, maybe not the best place to study for me, as I felt creativity wasn’t always rewarded. But thanks to a few people who trusted me, I was able to perform quite a lot of the baroque repertoire, got more acquainted with the recital exercise, and made a few true friends. Estonia was a life changing experience. Experiencing the North did something to my soul I wouldn’t have expected. The light is magical – even when there is so little in the heart of winter – the atmospheres were completely new for me, as was the way to interact with people. Eclipse took a lot from my experience in the North.
When did you fall in love with opera?
Since I was a little girl. I generally fell in love with music, and opera was a part of it. I would listen to The magic flute and Il Trovatore over and over. For years, I sang other styles of music, the idea that I could train my voice classically didn’t come until quite late in my life. What is fantastic about opera is the omnipresence of drama inherent to the music (nothing new I’m afraid!). And that it is somehow agreed amongst the audience, when you go and watch an opera, that people will express their feeling by singing loudly to each other, repeating over and over the same words, and still somehow, conveying an infinite panel of emotions.
Which are your favorite operas?
Pelleas et Melisande definitely holds a special place in my heart. Dido and Aeneas, because its a pure jewel. Wozzeck. Ask me tomorrow, it might be something else.
What do you like to do when you’re not being musical?
I read, I watch series, I teach, I drink tea and coffee with my friends, and I imagine new projects!
Can you tell us about Daïmon Opera?
The word daïmon itself is a English transcription of the Greek word referring to the little spirit that inhabits Socrates. He’s a kind of spiritual inspiration, which all performers want to have on their side! As a company, we started off as friends enjoying to work together. We wanted to perform in local spaces, not necessarily dedicated to concerts, and bring some varied repertoire to a wide audience, including some more demanding works – we perform quite a lot of contemporary music – and we try to keep English as a dominant language. We aimed to perform opera, but along the way, and building projects together, the idea of semi-staged recitals imposed itself as a way of offering a varied range of styles, keeping a dramatic and thematic unity, and involving the theatrical aspect that we all enjoy in opera.
Can you descibe your use of semi-staged recitals?
It is a way to chose repertoire in terms of thematic, organised around a dramatic idea. There is no point forcing a story into songs that were not written for it, which is one of the reason why we say ‘semi-staged’. There is a story line, but you can’t precisely follow characters or build every one’s psychology. It’s more like different pictures, or very short stories all gathering in one. We include lighting, movement, and in that sense we want the recital to become a theatrical experience.
You’re performing at this year’s Edinburgh Fringe; can you tell us about the show?
Eclipse was our first show as daïmon. It was a collective work based on the event of an solar eclipse. We organised the short hour of music (about 50 minutes) around this theme, which is carried by a beautiful piece by Handel from Solomon, performed by Mathew Oliver. The show is articulated like a poetic wandering around the ideas of light and darkness. The ‘poetic wandering’ I talked about comes, of course, from the beautiful poetry that has been set to music, but it is also created by the visual aspect of our show. All the use of props, the staging, the lighting, have been developed, decided, and handled collectively as we created the show. There is a feel of ‘do it yourself’ that we really cherish: the lack of means made us inventive, audacious and resourceful!
How did you select the music for Eclipse?
We started with text (the poetry set to music), which is always my starting point. And then, depending on who is with us for this particular project, we skim down and adapt.
This is the reason why there is more art song than opera, as more often the poetry will offer a wider range of interpretation than a few lines of aria from any libretto (except maybe some contemporary work that won’t always sound so well in a piano reduction)
Who are the musicians & singers?
For this particular show, we are: one pianist (Jose Javier Ucendo Malo), a flautist (Hanna Vigren), and three singers (William Frost, Mathew Oliver and Héloïse Bernard). We are respectively from Spain, Sweden, Scotland, England and France! Most of us are recent graduates of the Royal Conservatoire of Scotland.
Do you all spend time together outwith rehearsals?
We do! Will and I were both singing in a Figaro last summer in Spain on a production where Jose was the répétiteur. Hanna and I have quite a program together of flute and soprano pieces. I realise this is all related to music as I write ! Well, we do hang out after rehearsals.
You’ve got 20 seconds to sell your show on the streets of Edinburgh, what do you say?
A mini-opera where three singers, a flute and a piano, lead you on a journey through light and darkness. It’s dream-like, poetic and entertaining. (I think that’s 10, I’m quite bad at selling…) Just come, we’ll cast a spell on you!