_{Artist of the Week} 19 Qs for Lucas van Lierop

What/who inspired you to sing?
It’s in my DNA. My mom played with the Radio Philharmonic Orchestra in the Netherlands, and my grandmother, who’s now 97, still sings like time doesn’t apply to her. I also had many great aunts and uncles involved in music. My dad? He’s always been my biggest fan – believing in me even before I did. With a family like that, how could I not step into music? It’s like the universe said, “This is where you belong.”

Favourite city that you’ve worked in?
Salzburg or Baden-Baden. There’s something cinematic about those places – the mountains, the way the sky shifts with the light. After a long hike, your senses come alive. Performing there feels like you’re standing between two worlds: one foot in art, the other in something ancient and untamed.

Which opera role do you want to be singing right now?
Loge in Das Rheingold. He’s pure fire – restless, cunning, electric. I connect with characters who challenge expectations, and Loge walks that razor’s edge between chaos and brilliance. I’d love to bring that energy to life.

Which opera role do you want to be singing in 10 years?
Tamino. His journey is one of transformation and higher purpose. I miss the days when Tamino was cast with bigger, more heroic voices – there was a gravity to it. I want to help bring that energy back, make Mozart feel epic again.

Who is a singer you admire that is currently working?
Nina Stemme. She’s a force of nature. I worked with her on Elektra, and it was like watching someone conjure thunder and still make you feel completely safe. She’s powerful, but also warm and incredibly generous.

What’s the strangest/funniest thing that has happened to you on stage?
There are two stories that come to mind. During a dress rehearsal for Messiah, I couldn’t find the entrance to the building and rushed on stage with my fly down – quite the entrance, literally. And during a pandemic production of Le nozze di Figaro, I accidentally popped a champagne bottle at the quietest moment. You could hear the sound echo like a gunshot in a dream. Yes, both of those moments are immortalized in my memory.

What’s your favourite non-classical band?
The War on Drugs. Seeing them live is like stepping into a dream where you’re traveling forever on some endless highway. And Mk.gee – he’s something else entirely. His compositions feel like Tallis’ madrigals fused with The Police, creating this epic, hypnotic sound.

What’s your favourite thing about singing with an orchestra?
It’s like surfing a tidal wave – especially with a big Strauss orchestra. You either ride that force or drown in it. But when you’re locked in, there’s this otherworldly moment where you transcend the stage. It’s pure adrenaline and magic.

What’s something most people don’t know about opera life?
It’s not all glamour and champagne toasts. You spend a lot of time alone rehearsing, traveling, thinking. But it’s also where you grow. And then there are the friendships – some close, others halfway around the world. They’re your anchors in all the madness.

What’s the best thing about being an opera artist?
It’s a rebellion against algorithmic art. Opera doesn’t rush. It’s long, intricate, and demands presence. It’s like telling the world, “Slow down, pay attention, and let something real move you.”

Are you a perfectionist?
Not anymore. Perfection is cold. What I want is for the audience to feel something real – to leave the theater still buzzing from the experience. That’s worth more than a perfect high note.

What’s a surprising thing you did during the pandemic?
I started a weekly Instagram show called Tenor Tuesday where I highlighted many of my favorite tenors from the
past. My all-time favorite? Ernst Kozub. There’s an unmatched intensity in his singing.

What’s the biggest risk you’ve taken for a production?
Taking on roles where I had no idea if I could pull them off. You walk into the unknown, and it either makes or breaks you. But those moments are when you find out who you really are as an artist.

Are there more musicians in your family?
Yes! My grandmother, my mother, and many great aunts and uncles were all involved in music. It’s a family tradition that’s become part of my identity.

Where did you go to school?
Yale. And yes, that’s not the only thing Rory Gilmore and I have in common.

Are you a cat or dog person?
Both, but I’m friends with all my neighbourhood cats. There’s one cat, whom I’ve dubbed ‘Kittler’ (he has the moustache) who is always waiting for me when I come home late at night from shows or rehearsals, like some wise feline companion.

What’s the biggest professional challenge you’ve faced?
Jumping in for several performances of the European premiere of John Adams’ Girls of the Golden West. It was intense, but also exhilarating. Those moments are when you discover how much you can handle.

Were there any directors that really inspired you?
Christof Loy. His approach is meticulous, but also deeply emotional. I’m lucky to be working with him now – it’s a collaboration that keeps pushing me to new heights.

What does success look like to you?
That moment when the room goes silent, and you feel every heart in the audience hanging on your next note. If someone tells me, “You moved me,” I know I’ve done my job. And getting along with everyone – whether the production is big or small – is another marker of success. Art is a team effort.

What is happiness for you?
Happiness is being fully in the moment – on stage, in nature, with loved ones. When you forget time exists and everything feels right… that’s happiness.