Meet the Student: Q&A with Soprano Olivia Smith
Soprano Olivia Smith, from Kelowna, British Columbia, stars as the Governess in Curtis Opera Theatre’s production of Benjamin Britten’s classic psychological thriller The Turn of the Screw. Ms. Smith entered the Curtis Institute of Music in 2017 and studies voice with adjunct faculty member Julia Faulkner. All students at Curtis receive merit-based, full-tuition scholarships, and Ms. Smith is the William Horne Fellow.
How would you describe the Governess in The Turn of the Screw, and have you found any similarities between yourself and this character as you have studied the role and brought her to life in rehearsals?
The Governess is a very complex character. I think she is incredibly strong and determined, has the kind, nurturing qualities that any governess should possess, and she sometimes takes on a little more than she can carry. What I love most about new characters is seeing what parts of myself I can bring to them. I think, in a lot of ways, I find myself in this character because she is so human, and everything she feels throughout is real, vulnerable, and honest. Governess is such an interesting woman to explore, and I think there are parts of her that come more easily to me than others, but that’s what I love about complex characters like this. It’s so amazing to have the opportunity to explore parts of myself that I may not allow space for or that may be a little unsettling and also to share pieces of myself that I’m not always able to share in everyday settings.
Growing up in British Columbia, how did you initially hear about Curtis, and what pivotal moment made you decide to pursue a life as an opera singer?
I started taking voice lessons when I was seven in Red Deer, Alberta, and initially wanted to be a country singer! The teacher we had found had trained classically and taught the Royal Conservatory curriculum. When she suggested I learn to sing some art songs to build up a technical foundation, my parents thought it would be a really great way for me to have the tools to sing whatever I wanted. Over the years, I started to love how it felt to sing and started exploring opera. I had the opportunity to attend the International Vocal Arts Institute when I was 17, where I met Ruth Falcon. She was the first person to tell me about Curtis and suggested I apply.
Although I’ve been singing since I was seven, I think my pivotal moment happened quite recently. Over the pandemic, I took some time off of singing; I was actually ready to stop altogether and explore other career options. I was so nervous to admit that I wanted to do something else with my life, and I had felt guilty for so long about not feeling as committed to the art form as my colleagues. With the love and support of my incredible family. I was able to take the time to explore who I was outside of the label “singer” and get to know myself. When I did decide that I was ready to come back, it was because I was ready to do it for myself, not for the expectations of others or external validation, but because I wanted to use my voice for change, and make a difference in whatever way that meant for me. There are so many incredible stories that need to be told, and opera has a very special way of encapsulating the energy and emotion of human existence. What I love most about opera is the humanity of it and the universal experiences that connect us all.
What excites you the most about this career and art form as you shift from your academic studies to participating in young artist programs with opera companies?
I’m so excited to explore more of myself and new characters! I have been so grateful for my time at Curtis, and I now feel I have the tools to move on to the next step. Big life shifts are reflected in the art we create, and the new life experiences to come can add so many layers to our expression and vulnerability. I love the doors that can open in this career, and I’m looking forward to new challenges and opportunities to come!
Why should audiences rush to see Curtis’s The Turn of the Screw this weekend?
The music!! There is so much genius in the music Britten writes, with such an incredible and complex story. The text is set so beautifully and organically; it allows access to the vulnerability and trust it takes to put on a show like this. Going through this process has been amazing, with such phenomenal leadership and wonderful colleagues. This cast is full of generous artists who really bring this story to life!
CURTIS OPERA THEATRE: THE TURN OF THE SCREW
Britten’s Gothic Tale of Terror
November 18, 2022 | Friday at 7:30 p.m.
November 20, 2022 | Sunday at 2:30 p.m.
Philadelphia Film Center
Click HERE for more information.
