Marta Fontanals-Simmons

What advice would you give to a young singer before performing?
Prepare is the key word. Do as much research about the words you’re singing, the biographical and political context of the composer and librettist, the reasons why it mattered to them and also why it matters to you to perform these words. Then, find the truth in your own personal experience of the words and music, making notes of your impressions, because it’s always interesting to come back to them after a few days or more and see if you have the same reactions. Then, get to the piano and learn it from right inside of the music, not just copying someone else’s performance but discovering everything for yourself afresh. Open up that childlike wonder and be a detective over each note and marking. Do this as soon as you can to let that develop in you for a while before you get out and perform it. This will make the whole experience of performing less scary and more of a natural progression of your preparation. You then get the thrill of making it your own and sharing all that knowledge and depth with a new audience!

‍
With perspective specifically from my work with a few new operas I’ve collaborated on:The Monstrous Child at ROH - (Higgins/Simon), Festen at ROH - (Turnage/Hall) and a new piece to be premiered in November, Enemigo del Pueblo at Teatro Real Madrid - (Coll/Rigola), I have some further reflections.
If you have the chance to work with the librettist and composer in advance, this is a process to be cherished. You have a front row seat at the table and all insights are valuable. I have a document which I send to composers with my range and all the info I think would be useful for them writing for my voice, including where my passagi fall and what my best areas for various things are. If you’re workshopping the music in advance, this information can be so important for everyone and you will feel more confident knowing you’ve worked on it in advance. Always keep an open mind and voice to try new things as you will most likely be challenged, which is exciting, and you never know what new colours might be unlocked in you. I would say there must always be a balance though and you know when it feels right or not, so maintaining slow and steady practice and having someone you trust to listen would be my advice. There are amazing pianists who can send you recordings of your part, which I would recommend over midi files if you’re short on time to learn, as they have great insights for where you might be able to pick out your note from etc and find a great coach who loves contemporary music, or seek out the rehearsal rep in advance for some coaching before staging rehearsals start, which I always find is a great idea.
The first day of rehearsals is always nerve-wracking and believe me, everyone feels the same, but also know that anyone who chooses to dedicate their time to contemporary music already has a love for the artform and I can honestly say I’ve only experienced the most supportive and collaborative of singers and conductors in this genre. And after all the hard work is done and you’re ready to share it with the audience, enjoy it, live it, be in the moment and relish the fact that all your preparation has paid off!

What was your most memorable moment on stage?
As a performer, I’m always fascinated by the interchange of energy between performer and audience member and so I always find it immensely satisfying when the storytelling on stage is truthful enough to connect and move people. The audience reactions to Die Passagierin at Teatro Real and Festen at ROH will always stay in my mind, as well as the first unrestricted performance with Philharmonia at Three Choirs Festival after Covid. Singing Elgar’s The Music Makers had a great power on that day.

And in true In Conversation With… style, what one piece of music would you keep on repeat?
I don’t think I could have just one, I crave variety and who knows, it may not have been written yet ;)

‍