JAMES STRECKER: In what specific ways is preparation for your upcoming Amour in Orpheus and Eurydice a fairly easy process and in what ways is it difficult? Why is this so?
ANNA-JULIA DAVID: The role of Amour is quite short and sweet. (Amour only appears at the beginning and the ending of the opera)
It’s challenging to make a huge impact in such a short amount of time. However, in this case I enter on the newly built flying machine designed by Gerard Gauci. And it’s quite an entrance!
The music itself is very beautiful, but it can also be quite challenging as it is very transparent and exposed.
Doing this role is a fairly new process for me, and I do feel the entire responsibility on my shoulders.
It is not only me singing in front of an audience in a stunning theatre, but it is the whole process of bringing to life the story of Orphée et Eurydice, of making and sharing with the public a beautiful and memorable show. I am just a little piece of the puzzle and I am incredibly lucky to work with amazing people that believe in me and are ready to guide me.
JS: How would you describe doing this character as a significant experience in your creative life?
A-J D: I watched Opera Atelier productions from a very young age. I always loved how beautiful the performances were and enjoyed the historical period productions. So, it is a dream come true that this is happening. I have always wanted to work with Marshall Pynkoski and Jeanette Lajeunesse Zingg.
The role of Amour is also my debut role and it is a huge learning curve for me, but I am so grateful to Mireille Asselin and Colin Ainsworth for their support and their pieces of wisdom along the way. They are true legends and it is such an honour for me to sing with them. And to David Fallis and Christopher Bagan for their musical guidance and patience.
JS: Let’s go over some of your background. You have studied piano at the Royal Conservatory (Grade 10 Honours, the last I’ve read), you have a Bachelor of Science from University of Toronto (like another soprano, Isabel Bayrakdarian), you are working on a Master of Music degree in singing at the Utrechts Conservatorium, and you are a member of Decamaron Ensemble, Nederlands Kamerkoor, and Consensus Vocalis. How does each aspect of such a rich background jive with and contribute to your career as a soprano?
A-J D: I think each aspect has shaped me into the singer and musician that I am today. My science degree has definitely encouraged a drive to always learn and question.
And singing is also similar in a way because it is an ongoing process of learning and experimenting.
I formed my ensemble (Decameron Ensemble) during the pandemic and we have been performing throughout the Netherlands. I think this was a way for me to keep the music alive and also find other creative ways of making and performing music.
JS: A look at your Facebook page indicates also an interest in dance (say the posted photographs) and (with a nod to Vigée Le Brun), a calling to portrait painting. How is it that intense involvement in one art form leads to exploration of another? Or is it a tendency toward curiosity in one’s personality?
A-J D: I have always been curious and eager to learn about various topics. My parents have also been a huge factor in nurturing my love of art, music and history. I try to explore other art forms because in many ways they are connected. I also like to challenge myself and I am open to attempting different things. I tried oil painting for the first time during the pandemic and ever since then I try to complete one painting a year. It’s a nice way to calm the mind when things get chaotic with rehearsals or concerts.
JS: What are the most important parts of yourself that you put into your work in the arts?
A-J D: I’m not entirely sure if I put just parts of myself. I think my work is definitely my passion so I put my whole heart and soul into it.
JS: How does doing the kind of work you do in the arts change you as a person – and as a creator?
A-J D: Being a singer is very much a way of life. I have learned so much about myself while embarking on this journey to become a singer. The voice is so connected to everything we do in our day to day lives. Looking back, the process of discovering my voice and learning how to be a singer has very much made me aware of who I am as a person and has helped me grow.
JS: Please describe at least one major turning point in your life that brought you to this point as a creative person in the arts.
A-J D: Perhaps the biggest turning point was moving to the Netherlands during the pandemic in order to pursue my Masters. I grew a lot as a person and as musician. I learned to cope with the isolation and being away from family and friends. I definitely found my own strength during this time. I met incredible musicians and formed a baroque ensemble (The Decameron) and we have been performing throughout the Netherlands. My friends and colleagues in the Netherlands became another family and have contributed to my growth as an artist.
JS: What are the hardest things for an outsider to understand about your life as a person in the arts?
A-J D: I don’t think people realize just how hard and challenging it can be. People often see the glamorous side and it is true a musician’s life can be very beautiful and exciting, but there are also lots of challenges. It is not always easy to sing in front of an audience, to ignore the voices in our head or to deal with the pressure.
JS: Let’s talk about the state of the arts in today’s culture, including the forms in which you work. What specifically gives you hope and what specifically do you find distressing? Is there a difference between Canada and The Netherlands, where you are studying, in this regard?
A-J D: I think it is a bit difficult to compare as the latest years were extremely challenging for the art scene in the entire world. My experience in the Netherlands has been extremely positive and enriching. I really grew a lot in the open and nurturing environment of the Utrecht Conservatorium. I think it is important to find innovative ways of performing and to make our own opportunities. For instance, I have recently performed a multimedia concert program of my own creation based on the lives of four women connected in history and to the city of Utrecht. I combined music, art, anecdotes, letters written by these women in order to tell a story and reveal their voice.
It was very fitting to perform this at Het Utrechts Archief Museum and I am hoping to perform this project in other museums throughout the Netherlands.
JS: What’s next in the coming few years of your life in the arts?
A-J D: Well, performing and creating. Auditioning and travelling. Pause. Breathe. Repeat!