The Artist of the Week is Canadian mezzo soprano Emma Parkinson. She is preparing the role of Flora in Verdi‘s La Traviata for Opéra de Massy‘s upcoming production (May 24- 28, info and tickets here).
Comfortable in both contemporary and canonic operatic repertoire, Emma’s recent highlights include her role debut as Third Lady in Die Zauberflöte with Vancouver Opera, Anna in the world premiere of Chinatown by Alice Ping Yee Ho and Madeleine Thien with City Opera Vancouver, Female Customer in the Canadian premiere of Angel’s Bone by Du Yun and Royce Vavrek in a co-production with re:Naissance Opera, Sound the Alarm Music Theatre and Loose Tea Music Theatre. roles of Narrator/Minister in the Canadian premiere of George Benjamin’s Into the Little Hill with Astrolabe Musik Theatre, Mercédès in a new production of Carmen with Seefestspiele Berlin, and as young artist with the Atelier lyrique of Opéra de Montréal she performed Orlofsky in Die Fledermaus and Wood Sprite in Rusalka.
Emma was kind enough to sit down with us to talk about what her view of success looks like, what opera caused her to cry for the very first time, and how she is secretly an incredible salsa dancer. Read on to find out more.
Coffee or tea?
Tea! It’s a bit of a ritual for me.
What’s something most people don’t know about opera life?
I think most people don’t know that we have to stay in great physical shape. A lot of productions require us to move around a lot, usually in heavy costumes, while singing, so that requires good conditioning and stamina.
What does success look like to you?
To me success means living a balanced life. I think if you invest in your relationships, outside interests, and enjoy your work, that’s worth more than anything.
Do you enjoy cooking?
I love to cook. One of my favourites to cook is a sticky rice dish called lo mai fan.
What is something most people don’t know about you?
I’m an intermediate level salsa dancer 🙂
The music industry is tough, and filled with rejection. How do you cope?
Does it get easier? I don’t think it ever gets easier, you just learn to accept it as part of life as an artist. Not everyone will like you and that’s okay. I try my best to focus on why I love to sing and by giving my attention to what’s within my control.
Drink of choice?
Usually just water, but a good bubble tea is always a nice treat!
What was your childhood dream job?
I wanted to be an actress.
When was the first time you cried at the opera?
It was actually in my undergrad. I saw my first Traviata, a filmed version with Anna Moffo as Violetta.
What’s your guilty pleasure?
Chips of any kind.
LEARN MORE ABOUT EMMA PARKINSON
VISIT HER WEBSITE
© Ben Owens Photography
© Ben Owens Photography
La Traviata
Opéra de Massy
May 24-28
CONDUCTOR: Robert Tuohy
DIRECTOR: Oriol Tomas
CHOREOGRAPHER: Lucie Vigneault
COSTUME DESIGN: Sébastien Dionné
LIGHTING DESIGN: Erwann Bernard
VIDEO : Félix Fradet-Faguy and Philippe Marquis
VIOLETTA: Erminie Blondel
ALFREDO: Raffaele Abete
GERMONT: Simone del Savio
FLORA: Emma Parkinson
ANNINA : Simona Caressa
GASTONE: Rémy Mathieu
IL MARCHESE D’OBIGNY: Frédéric Concalves
IL BARONE DOUPHOL: François Harismendy
DOTTOR GRANVIL: Tomislav Lavoie Massy
Opera Orchestra
Unikanti Choir , Maîtrise des Hauts-de-Seine (directed by Gaël Darchen)Opéra de Massy
A romantic drama with an intimate character, a story both simple and moving, La Traviata is one of the most moving operas in the repertoire.
Combining love, redemption, fate and theatrical sense, all of Verdi’s genius is found in these touchingly sincere characters. The haunting presence of Violetta, who carries immeasurable pain within her, manages to move us deeply. An intense psychological work, it is above all a great story of love and sacrifice, followed by a reconciliation which comes too late…
In the production of the talented Oriol Tomas, the loves of Violetta and Alfredo will be recounted in an aerial setting , all curves and brilliant colors, where the projections allow you to move from one place to another. Without wanting to transpose the story into a precise historical context, the director was inspired by the energy that animated Paris in the early 1900s because of the Universal Exhibition.
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