Lucia Lucas: Cracking Operas Trans Glass Ceiling

LGBTQ&A
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Automatic TRANSCRIPT

Begin with. I want to go back to when you were first coming out. Was there any president or other openly trans opera singers that you could look at to see how being out might potentially affect your career. No actually this is sort of been a rule book that i've written myself over the last six years. Because there wasn't there was some professional singers who previously have careers. Who then transitioned so. There was a little bit of an idea what might happen with my voice which is not much and there was a little bit of an idea. About how the business might treat somebody. Who is trans like examples of it but nobody who was on the stage performing. It was just sort of a. How does this all work. So i had to decide how i was going to handle each individual thing and hopefully it was in a good way. Oh in so in essence to use your word. You're like writing the rule book for every transfer. Sinha fall you. I mean it's my real book for me. But i do hope that if i'm doing my best that at least administration in different opera houses can see that. It's possible that it's possible that this private thing this this very thing very specific to somebody can exist only in their personal life and it doesn't need to exist on stage. The opera doesn't need to be reworked. Nothing needs to happen. You can glue a beard on. And i'll go out there and i'll sang an it's fine and i don't care and i just want to keep doing my job you know if i'm missing. Baritone i just wanna go sing baritone really well and so now you have been. Al came out officially in two thousand fourteen. How welcoming have you found the opera world. Well the public in opera houses. They're typically a little bit more conservative than the people who are performing. But i will have to say that they're way more understanding and willing to at least inquire instead of shutting down somebody who is not someone who they're used to seeing on stage. We're seeing more and more start to break down. I think that that comes with so many tv studios. That are existing. Now there's more tv studios than have ever existed. You know we have. We have netflix amazon. We have who. We have apple with their own series. You don't have to make you know forty million or opening weekend. You're not playing to that many people in a theater. You can play to niche audiences like everybody doesn't have to like it and it setup that we ended and it's beautiful that way we can tell specialty stores to specialty people. You know one. Massive difference between hollywood and opera in correct me if i'm wrong but you have almost only played male roles and that is how your career is likely to continue. Is that right. Yes the majority of characters that i play in my mainstream main stage career are men specifically angry men between the age of thirty five and fifty. That's that's my talk. So the focus. What type of voice you have. And so because of the characteristics of your voice of the timbre and like the notes you are in that category almost only for opera. Yeah i mean unless a new composer wants to right something else which is actually the case with tobias picker. She's writing the danish girl for me. You know that's kinda something special and that's because the composer said hey. I would like to do this for you

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