insideKENT Magazine Issue 21 - Nov/Dec 2013 | Page 151

ENTERTAINMENT EXCITEMENT AS Glyndebourne Tour SET UP IN A BID TO OFFER UK AUDIENCES THE CHANCE TO EXPERIENCE OPERA, WHILST ALSO PROVIDING OPPORTUNITIES FOR EMERGING ARTISTS, THE GLYNDEBOURNE TOUR HAS MORE THAN SURPASSED ITS AMBITIONS. NOW IN ITS 45TH YEAR, GLYNDEBOURNE HAD MUCH TO CELEBRATE AS IT TOOK TO THE ROAD IN OCTOBER TO SHOWCASE ITS NEW PRODUCTION OF BENJAMIN BRITTEN'S THE RAPE OF LUCRETIA. NOT ONLY IS IT DIRECTED BY THE BRILLIANT FIONA SHAW, BUT IT MARKS BRITTEN'S CENTENARY. BETTER STILL FOR US KENT FOLK, THE TOUR WILL BE SWINGING BY CANTERBURY AND FEATURES THE EXTREMELY TALENTED, KENT-BORN OPERA SINGER, OLIVER DUNN. RETURNS TO KENT © Glyndebourne Archive insideKENT caught up with Oliver to talk the world of opera, inspirations and how he really feels about performing his first solo role for Glyndebourne Tour this autumn. Tell us a bit about your background prior to Glyndebourne. How did you get into the world of opera? I decided I wanted to be an opera singer when I was only eight years old. My parents took my brother and I to the English National Opera one Christmas and I remember thinking the people on stage were having more fun than I was. Throughout my teenage years I attended many performances at the ENO, as well as the Royal Opera House and Glyndebourne, and from there I developed a healthy interest in the art form. I took singing lessons and when the time came, auditioned for the main UK music colleges. I gained a place at the Royal Northern College of Music and studied there for six years. After that I came back to London to study at the Royal Academy of Music, then spent a year with the Glyndebourne Chorus and finished my studies at the National Opera Studio in Wandsworth. Who or what has inspired your path to success? I have many inspirations. Most importantly I have a wonderful wife, whom I met whilst in the Glyndebourne Chorus. She is also an opera singer so understands the stresses of the job and is a great support to me every day. My family and friends are also incredibly supportive, which is essential when you’re dealing with issues such as rape and suicide in the rehearsal room. Vocally, it is inspiring to be working at Glyndebourne. Hundreds of world-class singers, conductors and directors pass through every year and witnessing their work is incredible. Glyndebourne is special to me, not just because it was the place at which I began my career, but it featured in my childhood. You were previously a member of the Glyndebourne Chorus. Tell us a little about that. In 2010 whilst I was a student at the Royal Academy of Music, I auditioned for the Glyndebourne Chorus. I was offered a place in the Michael Grandage production of Billy Budd. It was a wonderful show and because I was amongst many of my contemporaries from the academy, it was electrifying. I’ll ne