Character Inspo: Opera Singer
Michaela Chiste, Soprano
Against the Grain Theatre
Photo: Taylor Long
Michaela Chiste is a soprano hailing from Okotoks, Alberta, currently based out of Ontario. Originally trained as a stage actor, she spent most of her life studying and performing in the dramatic arts before crossing over to the world of classical singing in 2013. Michaela specializes in operatic repertoire; some highlights include Alcina (Alcina), Mimì (La bohème), Fiordiligi (Così fan tutte), Adina (L’elisir d’amore), and Principal (.Gabriel). She is also passionate about contemporary music and has premiered several art songs and operas, including Ronald Beckett's cycle Songs of Fracture, for which she authored the poetry.
WBS: When did you decide you wanted to be an opera singer? Was it a dream you fostered over many years?
For me, I didn't even imagine a career in opera until I was about 18, partially because I didn't think it was possible, and partially because I was so focused on stage acting and musical theatre. I thought opera singers were like ballet dancers, where starting at an early age is essentially a prerequisite for having a successful career in today's industry. It turns out that this is not the case, as the vocal folds continue to develop well into adulthood and most opera singers don't start working until they've reached at least their early 20's anyway (this varies according to voice type- some voices aren't fully done cooking until the singer is 30 or 40!) However, when I did realize singing classical music was a possibility for me, I fell in love hard and fast!
WBS: What was your training like?
Never-ending! That sounds like a bad thing, but in reality, it is a wonderful thing and is one of my favourite parts about the art form. I still coach regularly with pianists, voice teachers, etc. and even though I've been singing opera for about 11 years, I still feel like there is so much left to learn.
That being said, my academic education was quite rigorous. I studied at the University of Alberta for my undergraduate degree, and then received my master's degree from Western University. During my undergrad, there was a time where I was overloading and taking nine courses at once, and this was not unusual for me nor my peers. There is just so much to know; we have to study music history, music theory, ear training and musicianship, world music, diction, song and operatic repertoire, and much, much more. Added on top of that, you must perform in ensembles, operas, and solo recitals, plus you must attend a certain number of classical music performances throughout the year. It's a lot to do in just a handful of years, especially if you were a late bloomer like me (I didn't start studying classical music until just before I graduated high school.) I remember weeping on the phone to my mom in the bathroom on my first day of university because I felt so overwhelmed.
WBS: What is your routine/schedule like when you are rehearsing for and performing a show? What sort of spaces do you rehearse in?
Rehearsal periods are usually quite compact in the opera world- it is often a matter of weeks leading up to performances, but rehearsals will last basically all day. It takes a lot of care and going easy on our voices to last through these long days. A lot of the time we rehearse in churches, as many churches have large, affordable spaces that can be rented out by opera companies. Sometimes we get to rehearse in studio spaces that are owned by the opera company and sometimes we even get to rehearse in the performance space, which is always a real treat.
WBS: This might be a really ignorant question, but are most operas in a different language? If so, do you find it difficult to learn the lines?
Many operas are in a different language, that's right. The majority of traditional operas are in either Italian, German, or French. It is not uncommon to see operas in Czech or Russian either, and other foreign languages are frequently present. There are many operas in English though, especially contemporary operas!
Diction and language study is built into the education of young singers, and larger opera companies often hire diction coaches. So though it can be challenging to learn the intricacies of another language, we get a lot of help from very experienced and knowledgeable professionals. I do my own translations to the best of my ability, which helps me to memorize and understand the text a little better. I also spend a lot of time studying languages, particularly Italian, German, and French so that I can better communicate the stories I am telling, instead of just giving washes of emotion.
WBS: I'm so curious... What's the highest note you can hit??? And are you an alto or soprano?
I'm a soprano! The highest note I can produce is an F6, also known as the high note in Mozart's famous Queen of the Night aria. That being said, what we call my usable range spans from approximately G3-Eb6, meaning those are the notes I would be comfortable singing on stage, as opposed to just squeaking out in the privacy of my own home.
WBS: Do you have to do anything special to protect your voice around performances? I'm thinking about your downtime - like the morning and afternoon before an evening show, if that makes sense.
Oh yes! Every singer has a different ritual, but mine consists of waking up at a comfortable time (ideally, turning off my daily alarm and just allowing my body to wake up, which is usually around the same time my alarm goes off anyway), doing some yoga or light stretching, warming up and checking in on my voice gently throughout the day, and drinking lots of water or herbal tea. I generally like to review my scores before a performance to remind myself of my pitfalls, and do lots of mental exercises to try and calm myself down as much as I can. Many singers will limit the amount of talking they do both during contracts and in general.
WBS: Speaking of downtime, what do you like to do to relax when you're not onstage??
Honestly, lots of normal things! I love to visit with my friends and family, read books, paint and cross-stitch, and many more boring things! I also find including some kind of movement in my day helps keep me relaxed and happy. My physical activities of choice are running, hiking, and yoga.
WBS: What is the community like in the opera biz? Do you see familiar faces around as you do more shows? Are people generally supportive and friendly or can it be a challenge to make connections?
In my experience, people are generally really lovely in the opera business, and it is quite a small world. It's easy to feel connected to people as we all share such a deep love of the art form. Plus, it seems like there must be only one or two degrees of separation from everyone in the business (here in Canada anyway), and everyone either knows everyone or knows of everyone. Of course there is competition, but on the whole people seem to understand that we are not each other's enemies, we are each other's colleagues.
“Music and theatre brings to light all of the ideas and emotions that we store away and don’t share in our everyday lives, and to me that is such a wonderful, beautiful thing. Performing makes me feel heard and understood, and so very connected to other people, be they audience members, fellow artists, production team members, or anyone who is willing to listen.”
WBS: Is it hard finding work as an opera singer? Do you ever have to do other work? Also, where do you look for auditions?
It is very difficult to find work as an opera singer. It is a very niche art form, and jobs are scarce for everybody. This is especially true for sopranos and mezzo-sopranos, for whom the market is extremely saturated. Many singers have agents and/or managers who help them to find work. There are a few platforms out there specifically dedicated to posting audition opportunities for opera singers, and I find those extremely helpful. A lot of it though is being a truffle pig for opportunities, and honestly, these days, making your own opportunities.
I definitely have to work other jobs to support myself, as do most of my peers. Some folks teach music lessons at a studio or privately, which is a great way for singers to continue to exercise their skill set while not performing. I have built a bit of a niche side hustle for myself in the form of arts administration. I work as a grant writer, administrator, and social media coordinator in both private and contracted positions. In the past I've also worked as a barista to support myself, and I have many friends who also work in the service industry to help fund their burgeoning careers.
WBS: What are some of your favourite shows/roles that you've done and why?
It's so hard to choose favourites, as I love all of the roles I've done for different reasons! Comparing Mozart to Puccini, for example, is very apples to oranges. If I had to choose some favourites though, I'd say my top three (in no particular order) are:
Mimì (La bohème)- I love Mimì. I really feel like if I met Mimì in real life, I would want to be her best friend. She's kind, selfless, gentle, and charming. Portraying her was an honour, and the production I was involved in was an extremely special one, with an extremely special group of people involved.
Adina (L'elisir d'amore)- It took me a while to warm up to Adina. I didn't see much of myself in her at first, but the more I lived with her, the more I came to understand and enjoy her. This was another very special production, and I absolutely adore everyone I worked with on this show! Our director, Anna Theodosakis, gave us so much room to play and be creative and the show was so full of joy.
Principal (.Gabriel)- One of my great passions of being a singer is being able to tell stories that make an impact and relate to contemporary topics. This show is centred on mental health, and is a beautiful and moving depiction of a woman who suffers from agoraphobia. I wish this opera was performed more often!
Michaela as Mimì in La bohème
Photo credit: Anna Kuelken
WBS: What would you say is the biggest challenge of this career path? Or challenges plural, if more than one comes to mind?
I'd say the biggest challenge of this career path is the scarcity of jobs. It is so, so challenging to make it as a full time performer, even if you are the best singer in the world. Everything is so subjective, and one person may love your voice while another may hate it. You could be the best candidate at the auditions, but if they don't like your tone, or if they're not looking for a lighter voice, or if you're too tall for the costume they already have, it may be as simple as that. It takes a perfect storm to land even one gig, and there are only so many gigs out there. This is challenging not only from a financial standpoint, but also from a personal standpoint. It can be really mentally challenging to take so much rejection and still keep your head up and keep trying. It's not for the faint of heart.
WBS: What are some of the joys of this career path?
The people, for sure. I love meeting so many unique and wonderful individuals with such beautiful artistic visions. I feel so lucky to make new friends constantly and to get to watch the growth of my fellow artists. I'm so inspired by my colleagues!
I also love that I get to make art every day. Music and theatre bring to light all of the ideas and emotions that we store away and don't share in our everyday lives, and to me that is such a wonderful, beautiful thing. Performing makes me feel heard and understood, and so very connected to other people, be they audience members, fellow artists, production team members, or anyone who is willing to listen.
WBS: Have you gotten to travel anywhere cool for shows?
I've had the great good fortune of going to many exciting places in my journey as an opera singer. The most exciting places I've performed as a soloist are Greece and France. Auditions are often the thing that sends me off around the globe though- I've been to London, Milan, Berlin, and The Hague, to name a few!
WBS: Last question: if you read a book that included an opera singer as either a major or minor character, is there anything you would want to be included about that character that would make you feel seen? Or to phrase it another way, are there any specific details about the lifestyle, the mental processing, or anything at all that comes to mind that you would love to see on the page if you were reading about an opera singer?
I think the main thing I would like to see if I were reading about an opera singer is just how hard we work. There is a misconception sometimes that music professionals (of any genre) just mess around and have fun all day, which just isn't true. Do we have fun? Of course we do, but that doesn't diminish how mentally, emotionally, and physically draining this profession can be. Opera singers are the hardest-working people I know. We have to work hard, because it is so competitive out there, and if we don't work hard there are ten other singers waiting outside the door to fill our place. Singing is a full-body activity, and professional singers are Olympic athletes of singing. Being onstage under hot lights running around and singing at the top of our lungs is very tiring! Singers are also incredibly tough and thick-skinned to have to put up with constant criticism and judgement, whilst still being sensitive and emotionally vulnerable. It is a dichotomy that takes a lot out of you, but it's all so worth it, as it's a true labour of love.
Find Michaela on her website or through social media:
https://www.michaelachiste.com/
Instagram: @michaelachiste
X: @MichaelaChiste
Facebook: @michaelachistesoprano