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