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| The famous ‘Saul’ Photo, with Ben playing the High Priest. Copyright Bill Cooper. |
Written by Josephine Walbank
Welcome to the first instalment of the NSOS blog's newest feature - chats with some of opera's big names and key players, sharing their industry insights and personal stories with us.
I recently got the opportunity to chat with the fantastic talent Benjamin Hulett about his experiences as one of Britain's most sensational tenors. Already, he has a staggeringly long list of performances under his belt, in a wonderfully diverse, global career.
I spoke to Ben (through Zoom, naturally) about his dynamic career, covering just about everything along the way; from college choirs to announcing the birth of his baby boy.
1. What was the first opera you ever saw?
I'm not entirely sure. I lived near Guildford and the theatre was a major feature on the pre-West End and touring circuit. I used to go a great deal, mostly to plays, but I do remember seeing a La Boheme there. It created a lasting impression, but it wasn't what drew me into opera; that was actually being involved in operas.
2. Looking back, what would you say was the first big turning point in your career (or your 'big break') was?
My career has been symbiotic. My concert performances have led to more opera work and vice-versa. The point of origin, when I went from singing because I liked it and always had, to thinking it could be a career, was when I was on tour in Germany with my university college choir. We were singing Bach's Weinachtoratorium in massive halls like Frankfurt, Dusseldorf and Munich with the Academy of Ancient Music under Christopher Hogwood, when the tenor fell ill. I took over as 'Evangelist' and it was a huge buzz. After that, I was encouraged to think big.
3. What is your favourite thing about being able to perform?
I'm supposed to say something about the adrenaline, that excitement and then reward from channelling all that energy into a performance and the reward of euphoria at the end. But, if the COVID-19 lockdown is teaching me anything, it is that the best thing about performing is being surrounded by so many excellent people. The warmth, kindness, talent, diligence and ability of my friends and colleagues is breathtaking, onstage and backstage.
4. What, would you say, is your personal highlight of your career (so far)?
Saul at Glyndebourne is a big one. A perfect fusion of everything that I love about words, music, movement and drama. Barrie Kosky, Otto Pintschler and Ivor Bolton created something very special.
Performing 'Curlew River' for Opera di Roma with papal dispensation in the Basilica of Santa Maria Are Coeli was unique.
Cycling from the hospital after the birth of my first son to the Staatsoper in Hamburg, announcing 'It's a boy!' to the cast during the overture and then singing the Junge Seeman's song before cycling back to the hospital will never be forgotten.
Actually, I have been blessed by a career (so far) where the highlights are so many, that it's easier to mention the handful of disasters!
5. Is there anything or anyone in particular in the field that most inspires you?
I have already touched on this, but mostly people do. I particularly respond to those who remain passionate and animated, while challenging me to do better. I always want to do the best I can, and that's why I'm hard on myself.
6. What are you most looking forward to in the future for your career?
This is an incredibly hard question. I am supposed to make a long-awaited debut with a British company next season, as well as returning to the Wiener Staatsoper but, at the moment, the only calls I am receiving are to tell me that work is being cancelled.
My principal aims have always been to do my best and to have longevity, but all I can hope for at the moment is a crumb of good news that performances can resume and that I can be involved.
Although currently the creative industry across the world is facing a lot of uncertainty, we hope that we can see Ben returning to the stage again in 2021.
Welcome to the first instalment of the NSOS blog's newest feature - chats with some of opera's big names and key players, sharing their industry insights and personal stories with us.
I recently got the opportunity to chat with the fantastic talent Benjamin Hulett about his experiences as one of Britain's most sensational tenors. Already, he has a staggeringly long list of performances under his belt, in a wonderfully diverse, global career.
I spoke to Ben (through Zoom, naturally) about his dynamic career, covering just about everything along the way; from college choirs to announcing the birth of his baby boy.
1. What was the first opera you ever saw?
I'm not entirely sure. I lived near Guildford and the theatre was a major feature on the pre-West End and touring circuit. I used to go a great deal, mostly to plays, but I do remember seeing a La Boheme there. It created a lasting impression, but it wasn't what drew me into opera; that was actually being involved in operas.
2. Looking back, what would you say was the first big turning point in your career (or your 'big break') was?
My career has been symbiotic. My concert performances have led to more opera work and vice-versa. The point of origin, when I went from singing because I liked it and always had, to thinking it could be a career, was when I was on tour in Germany with my university college choir. We were singing Bach's Weinachtoratorium in massive halls like Frankfurt, Dusseldorf and Munich with the Academy of Ancient Music under Christopher Hogwood, when the tenor fell ill. I took over as 'Evangelist' and it was a huge buzz. After that, I was encouraged to think big.
3. What is your favourite thing about being able to perform?
I'm supposed to say something about the adrenaline, that excitement and then reward from channelling all that energy into a performance and the reward of euphoria at the end. But, if the COVID-19 lockdown is teaching me anything, it is that the best thing about performing is being surrounded by so many excellent people. The warmth, kindness, talent, diligence and ability of my friends and colleagues is breathtaking, onstage and backstage.
4. What, would you say, is your personal highlight of your career (so far)?
Saul at Glyndebourne is a big one. A perfect fusion of everything that I love about words, music, movement and drama. Barrie Kosky, Otto Pintschler and Ivor Bolton created something very special.
Performing 'Curlew River' for Opera di Roma with papal dispensation in the Basilica of Santa Maria Are Coeli was unique.
Cycling from the hospital after the birth of my first son to the Staatsoper in Hamburg, announcing 'It's a boy!' to the cast during the overture and then singing the Junge Seeman's song before cycling back to the hospital will never be forgotten.
Actually, I have been blessed by a career (so far) where the highlights are so many, that it's easier to mention the handful of disasters!
5. Is there anything or anyone in particular in the field that most inspires you?
I have already touched on this, but mostly people do. I particularly respond to those who remain passionate and animated, while challenging me to do better. I always want to do the best I can, and that's why I'm hard on myself.
6. What are you most looking forward to in the future for your career?
This is an incredibly hard question. I am supposed to make a long-awaited debut with a British company next season, as well as returning to the Wiener Staatsoper but, at the moment, the only calls I am receiving are to tell me that work is being cancelled.
My principal aims have always been to do my best and to have longevity, but all I can hope for at the moment is a crumb of good news that performances can resume and that I can be involved.
Although currently the creative industry across the world is facing a lot of uncertainty, we hope that we can see Ben returning to the stage again in 2021.
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