For up and coming young singers, particularly those studying opera, the path to a professional career may seem to be extremely narrow and fraught with challenges. In Europe, there is ample population for audiences and many tertiary courses / tutors available. With so much on offer, there are more opportunities to gain knowledge and experience. However, Australian singers have much less to choose between. If they want to work overseas, they need to be able to impress their potential funders, sponsors or employers. The best way to launch is to be able to prove excellent stage experience but also to show credentials such as competition wins and scholarships.
The Marianne Mathy Scholarship was created from the desire of Australian soprano, Marianne Mathy, to support new, up and coming singers. The scholarship evolved and expanded into the IFAC (International Foundation for Arts and Culture) Handa (after Dr Haruhisa AO) Australian Singing Competition.
Since 1982, the competition has showcased thousands of singers who have competed for more than $2.8 million in prizes. The Competition’s strength is founded on its reputation for discovering the very best emerging talent from Australia. What’s lovely about this competition is that there are multiple awards and opportunities that can be offered to the finalists so no one walks away empty handed.
The heats for the competition began in multiple Australian states in May. Semi-finals were in August and finals in September. The finals were recorded for ABC Classic at The Concourse, Chatswood last night with an enthusiastic audience and the Opera Australia Orchestra conducted by Natalie Murray Beale.
Out of hundreds of singers, 5 finalists were chosen. Congratulations to every finalist for such an achievement. Each finalist could choose two pieces to perform with the Orchestra after mentorship and workshops with the National Adjudicator, Jeffrey Black. Black was born and bred in Brisbane, going on to become an International Baritone performing in top opera houses around the UK, Europe and USA.
Opening the program, the first finalist was Queensland Baritone, Aidan Hodder with Papagena! Papagena! Papagena! from Mozart’s The Magic Flute. He has a good clear tone, excellent German pronunciation and a wonderful knack for storytelling. We were completely caught up in his story and comedy skills.
NSW Soprano Sophie Blades followed with Quanti mi siete intorno… Padre, germani, addio! From Mozart’s Idomeneo. She was a crowd favourite and performed the dramatic piece with flare in Italian.
Victorian Mezzo Brittney Northcott appeared for her trouser role in a stunning red trouser suit. She performed Vani sono i lamenti … Svegliatevi nel core from Handel’s Giulio Cesare. Such a high drama piece can be challenging for the nerves. She has a truly beautiful tone and captured the moment well.
Victorian Mezzo Sidra Nissen performed Smanie implacabili che m’agitate from Mozart’s Cosi fan tutte. She attacked the aria with gusto and a fine vibrato. What great potential to become known as a pocket rocket.
NSW Tenor Wesley Haotian Yu completed the first round of arias with Se all’impero, arnica Dei from Mozart’s La Clemenza di Tito. He threw himself into the character very quickly and focussed on quality of tone which was projected carefully.
Generally, the quality of performance was good. When receiving years of tutoring on the technique of singing, sometimes stagecraft can be given less attention. Additional tuition in this area would definitely benefit all competitors as would a reminder of articulation in order to reach the crowd up in “The Gods” (back seats of the Grand Circle).
Second round of arias followed.
Brittney Northcott performed another dramatic trouser role. Depuis hier … Que fais-tu blanche tourterelle? from Gounod’s Romeo et Juliette. Her masculine swagger was great. However, it would have been lovely to see her in a feminine role as contrast. Perhaps something we can look forward to in the future.
Sophie Blades performed Prendi, per me sei libero from Donizetti’s gorgeous opera L’elisir d’amore. She made full use of the orchestral pauses to soar overhead, working very well with conductor Beale. This was a crowd favourite.
Aiden Hodder performed O, du mein holder Abendstern from Wagner’s Tannhäuser. Again, wonderful story telling though two German pieces felt limiting on demonstrating his versatility. His acting abilities are outstanding, holding character without the need to “do stuff” when he is not singing. Let’s hope that, as a backup, he may extend his performance study into more dramatic acting as the writer feels there would be plenty of opportunities for him in film, stage and television.
Sidra Nissen performed in Hebrew Kaddish from Deux mélodies hébraiques by Ravel. This was a stunning work greatly enhanced by the orchestra which allowed her to display how serious she is about her art. Excellent work.
Wesley Haotian Yu performed É la solita storia del pastore the Lament of Federico from L’Arlésienne by Cilea. Again he was focussed on quality of tone. It was a lovely choice to suit his voice – a great piece anyway! – and can be enhanced in the future with more character building and committed acting.
The adjudicators left the room. We had an interval followed by an enjoyable orchestral interlude with excerpts from The Barber of Seville and Carmen.
Prize giving time, National Adjudicator Jeffrey Black spoke pointing out that singers closer to the age of 30 would be best to focus their attention of looking for opportunities more suited to their level of skill and experience – a little curious. The rules say the competition is open to singers up to the age of 26. He also stressed that the criteria of the adjudicators was to identify a young artist who shows great potential and does not need to be presented as the finished product at this competition.
Prizes
Sierra Nissen – 2025 Marianne Mathy Scholarship Winner
Includes $30,000 to assist with a program of study or singing activity.
Audition prize from Lyric Opera of Chicago’s Ryan Opera Center.
Lili Ussher Portrait Prize
Oral History Award
The Mathy Statuette
The WinkiPop Media Prize
Canadian Vocal Arts Institute Montreal Scholarship.
Sophie Blades
The Merenda Legacy Prize;
The Linnhe Robertson Prize;
The Nell Pascall Award;
The MOST® Audience Prize
Aidan Hodder
Perth Symphony Orchestra Prize;
AUD $5,000 to assist with
travel expenses;
$1,000 to support the professional A/V recording of the PSO performance.
Brittney Northcott
The Zeny Edwards Education Grant;
The Royal Northern College of Music Award
The Pasqualina Lipari Prize
Wesley Haotian Yu
The Sherman Lowe Study Prize
The Merenda Travel Prize
More details of what each prize includes can be found here. https://aussing.org/about/prizes-opportunities/
Congratulations to all the finalists. Here at Sydney Arts Guide, we wish you the very best with your studies. You have all worked so incredibly hard and deserve grand applause. Bravo!
Related Links
MOST – Music and Opera Singer’s Trust website: www.mostlyopera.org
Handa Australian Singing Competition: https://aussing.org/
What’s On at the Concourse: https://www.theconcourse.com.au/
