When Erika Simons went to Germany in 2012 to sing with the Cologne Opera, she had no idea that one year would turn into ten. She’s a lyric-coloratura soprano, which means she has a very agile light voice with a high upper extension, typically distinguished by agile runs, leaps and trills. She’s played roles like Gilda from Verdi’s Rigoletto, Eliza Doolittle in My Fair Lady, and Susanna in The Marriage of Figaro. And like the words she sang for Qantas back in the 90s, she’s still calling Australia home, recently returning with her two best German souvenirs, her husband Ziggy and little boy Lawrence.
Erika and I were art and music buddies throughout high school. Learning the recorder, analysing musical genres, learning oil painting, and getting up early to for choir practise. She was turning heads back then, and she’s still doing it now, attracting reviews like this one by Jenny Camilleri from Bachtrack: On stage, Erika Simons is the emotional fulcrum of the experience. She moves with feline grace and sings with unbroken intensity.
In this chat she shares stories of how creativity has helped her in times of adrenaline and changed plans, the vulnerability of being on stage and managing feedback, and how she’s seen creativity and innovation in the arts applied in different countries.
Your ears are going to love this one, and you might learn a few new things about Opera like I did. Please enjoy my chat with Erika Simons.
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