Hugh Philpott meets operatic soprano Dame Felicity Lott

Dame Felicity Lott is an internationally acclaimed British soprano and generous supporter of young singers. She commands a broad repertoire but is probably best known for the noble ladies of Mozart and Strauss. She has recorded extensively and sung in major opera houses and concert halls throughout the world.

She is still very much in demand both at home and abroad, but she always loves to return to Sussex, which she has called home for several decades. Today I catch up with her, between engagements, at her Sussex home, nestled between the South Downs and the sea. Earlier in the week she was at Royal Holloway University and then yesterday in Battle, East Sussex. Next week she is off to the Hochschule für Musik in Freiburg and thereafter on to Tuscany. I am grateful she has agreed to share some of her down time.

“Would you like to be in the garden or inside? It’s such a beautiful day.”

I hesitate to decide. The house and garden are equally inviting, and both shout out in unison ‘here!’ Luckily, she has already decided and serves freshly brewed coffee and the ‘good biscuits’ on a friendly old garden table while I am still admiring some rather unusual deep-red bearded irises.

“Did you get the message about the English Song competition last night, in Battle?”, she asks. “There are so many talented young musicians around these days. I marvel at their enthusiasm and positivity. In fact, the pandemic has taught them to be very creative and resourceful. I don’t know how they manage.”

“It wasn’t easy for my generation, either, of course, but I am sure it didn’t feel as difficult as these last few years have been, and I don’t see it getting easier. I do my bit to help encourage and show the way. I have kept up my links with places where I have either studied or performed over the years. I enjoy being able to give something back, but it also works both ways. It keeps me fresh to hear how new generations interpret the music I have loved, and which has been good for me. It’s also a great way to hear new repertoire.”

We sip our coffee and listen to the birds. I ask about Art Song, in particular in French, which has played an important part in her recital career.

“It was when I was first studying in France, that I really discovered ‘song’. I owe so much to France. I fell in love with the French language and the repertoire. I loved to listen to Régine Crespin, who made a great impact on me. And I hadn’t really thought about singing as a career until then.”

And, inevitably, we move on to the subject of opera. Why do some people still believe it to be elitist or inaccessible?

“There’s no simple answer. It’s a perception. Tickets need to be cheaper, and the productions need to be less alienating! But if children were to encounter music at an early age, as used to happen in schools, they would be less frightened of opera later in life. It will never be for everyone but so many people don’t even have the chance to find out.

“Opera is arguably the ultimate art form; the one where all of the others are supposed to come together and work in harmony in order to create the ultimate Gesamtkunstwerk or ‘total work of art’. The productions need to deliver that. If you’ve paid hundreds of pounds for a ticket, you have an expectation of something rather special. Opera and the classical repertoire have served me well and so I want to see it all thrive and adapt itself for future audiences and musicians. It offers much to enjoy and can have huge popular appeal. I want people to be able to experience that.”

As if on cue a blackbird fills the air with its coloratura, followed by a chorus of twittering sparrows and cooing pigeons.

“Perhaps more opera in English? Who knows? But the diction must be good and sadly too often it is not. It is important to know what is going on. Surtitles have helped with this, but they can be distracting. It’s so difficult to say. Opera at local and community level plays an important role. It can introduce new audiences. I’m thinking of how I was involved in Gilbert and Sullivan when I was very young. It’s certainly very good for the development of diction, and really good fun.”

I ask about the best and worst moments of her career so far.

“Worst? Difficult to say. Honestly, as I look back nothing feels as if it was so awful. There were some odd productions and designs along the way, but you just get on with the job. I did a Marriage of Figaro in Brussels when I was very pregnant. They draped a sheet over me. I looked like a tent and as if to make matters worse, the designer painted our faces in pink and blue. The Figaro had a beautiful voice but no expression on his face. Luckily no one noticed, since we all looked like strange clowns.’

… and the best?

“Without doubt Carlos Kleiber! I simply loved working with him. I did a wonderful Der Rosenkavalier with him in New York and again in Tokyo and Vienna. I was Marschallin, Anne Sofie Von Otter was Octavian and Barbara Bonney sang Sophie. It was a dream team. He was just marvellous to work with.”

And was there a time when her skills as a professional were really put to the test?

“That has to be Figaro in Munich and for once I was in the audience. I shall never forget that day. I had been to Garmisch-Partenkirchen in the morning to visit Richard Strauss’ grandson at the Strauss family home. I had just finished in Intermezzo, the opera Strauss wrote about his own marriage, and so was excited to visit his old home. I was also invited to stay for a wonderfully convivial lunch. On return to Munich that evening, I went to see Figaro with a friend. Unfortunately, soon into the show, it became apparent that the person singing the Countess was really unwell and getting worse. As Act II drew to a close and the curtain came down for the interval it was clear she had lost her voice. I really felt for her and so we decided not to stay. We got as far as the foyer, when there was an announcement. They were calling me. The director wanted to see me backstage. He knew I sang the role and asked me to take over. Suddenly my good lunch and delicious Bavarian wine felt very heavy. Act III, the point in the opera where I was to go on, has one of the Countess’ big arias. It’s the first thing she does after the interval with the stage all to herself and no time to warm up. I did it, but it was a real test.”

Any tips for budding young opera singers who might be reading this?

“Stick to Mozart and Handel while your voice is still settling down. Remember: attention to diction. Singing in whatever language is no good if we can’t hear the words. Don’t give up! There is so much beautiful music out there.”

My time with Dame Felicity passes quickly. We say our goodbyes and I leave reluctantly. On the train home I find the Carlos Kleiber version of the finale of Der Rosenkavalier with the Lott, von Otter, Bonney dream team. If there were ever seven wonders of the classical music world this would certainly make the cut. Find a calm, quiet place and listen to it. Then cry.