All posts by Wendy Silvester

​Wendy Silvester is a freelance opera and classical singer from Coventry, UK, currently based in Riga, Latvia. She is also a singing teacher, fledgling opera director, and opera guide writer for ​Recent opera engagements have included Fidalma, in Cimarosa's Il matrimonio segreto with the Scheggino Opera Summer School, Zita in Gianni Schicchi with Carlo Rizzi and the Welsh National Opera Orchestra, Ulrica in Un ballo in maschera and La Zia Principessa in Suor Angelica ​for Stanley Opera, and Filipyevna ​Eugene Onegin​ with the Serenata Singers, Cardiff. For the 2018-2019 season, Wendy is a trainee of the Opera Studio 'Figaro' at the Latvian Academy of Music.

Big Women of Opera: Celebrating female opera creators

For centuries, the world of opera creation has been very much a boys’ club and it can seem that even in 2019 very little has changed. However, our latest blog post takes a look at at some of the creative roles that women take on in opera, featuring three female opera creators: a composer, a conductor, and a director. Happy reading!

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Opera Newbies: Where Do I Start?

Perhaps over the festive season you had the chance to catch an opera. You may have been given tickets by a friend, or just fancied a bit of a special night out. Or maybe your new year’s resolutions include something along the lines of ‘I should see more theater’, or ‘involve myself in more cultural activities’ or even, perhaps, ‘go to the opera’, well this is the post for you. If you’re an opera newbie, the vast amount of schedules, houses, and works, can be a little bit overwhelming, and you want to make sure you’re going to enjoy what you’re going to see.

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Preparing an Operatic Role: Part Two

Successfully performing an operatic role requires a ton of work and planning before you step foot on stage. Enjoy part two in our series on preparing an operatic role. Study one opera singer’s journey as she gets ready to perform the role of Fidalma in Il matrimonio segreto. Learn how to perform character research, memorize your lines and other expert tips.

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Preparing an Operatic Role: Part One

After all that hard work preparing for your auditions you’ve received the best news: you got the job! You’ve been offered a role in a production somewhere! Mission accomplished, right?

Wrong! Here’s where the work really starts. It makes no difference if you were offered the role on a pay-to-sing, amateur production, a young artist program (YAP), a summer school, a regional tour, or the Met, the preparation you do before day one of rehearsals will determine not only how well you perform this particular role, but could influence the rest of your career.

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News, thoughts, opinions and advice for the performing arts community.