Interview with Icelandic baritone Olafur Sigurdarson

By Oxana Arkaeva

August 27^th, 2023, Bayreuth

Titel foto by Isolde Stei-Leibold. La Scala, privat.

Icelandic baritone studied at the Reykjavik College of Singing, the Royal Academy of Music in London, and the Royal Scottish Academy of Music and Drama in Glasgow. Beginning with companies such as the Icelandic Opera and Opera North (Leeds), his engagements include La Scala in Milan, Bayreuther Festspiele, Finnische Nationaloper, Nationaloper Prag, Gran Teatre del Liceu in Barcelona, Opera Colorado, Opera Minnesota, Deutsche Oper in Berlin and Oper Leipzig.

As a soloist at the Saarland State Theater in Saarbrücken he sang there a wide range of dramatic baritone repertoire, including Balstrode in Peter Grimes, the title roles in Falstaff, Rigoletto, Macbeth and Simon Boccanegra, Scarpia in Tosca, Renato in Un Ballo in Maschera, Jochanaan in Salome and Tonio in Pagliacci. His appearances in the German repertoire include roles such as Klingsor in Parsifal, Pizarro in Fidelio, Barak in Die Frau ohne Schatten, Alberich in Der Ring des Nibelungen, Melot in Tristan und Isolde, Telramund in Lohengrin and the title role in Wozzeck.

The charismatic and down-to-earth baritone discusses his artistic career and what makes a Wagner singer. What stumbling blocks can be found on the career path of an opera singer and his way to Bayreuth and La Scala and expresses his concern about the state of an opera business in his Island. This interview was taken during the last days of the 2023 Bayreuth festival, just before Olafur Sigurdarson departed to Milano to rehearse Balstrode in Peter Grimes.

You started to sing in Bayreuth in 2021. How does it feel to be in Bayreuth? Is it like business as usual, or does it impact your performance?

I first came to Bayreuth in 2020 during the pandemic for an online video project. With a small team, we worked under strict COVID regulations, giving us a unique private experience of the venue. My official debut as Biterolf in Tannhauser was in 2021, and we began preparations for the new Ring production, premiering in 2022. Bayreuth’s influence on performances is undeniable. I’ll never forget my audition, marked by the distinctive acoustics and the iconic red stage door. Many of my idols have walked on stage through that door, and now I’m here – an emotional moment. Amid the business-as-usual routines, there’s the famous corridor adorned with conductor photographs. Singing and being here is truly magnificent.

Your roles in Bayreuth vary from Alberich to Biterolf and Melot. Which is the next, the new one? 

I will continue as Alberich in the Ring as well as Biterolf in Tannhäuser. And to add to my excitement, I will take on the role of Kurwenal in the new production of Tristan & Isolde.

The orchestra pit at the Bayreuth Theater is covered up. How would you describe the experience of singing without seeing the conductor? Do you have any tips?

When I first stepped onto Bayreuth’s stage, I glanced into the orchestra pit and was taken aback by the sight of musicians in shorts and T-shirts. The unexpected sight almost made me laugh. Bayreuth can get scorching hot on a sunny day, and the pit becomes sweltering. But joking aside, adapting to Bayreuth’s unique acoustics, with its sound delay, takes time. Fortunately, we receive excellent support from the dedicated staff who closely monitor the stage. This level of coordination and oversight, often referred to humorously as the “Tempo Police,” is incredibly helpful. Nevertheless, it’s essential to remain at the top of your game and stay alert. Another remarkable aspect of Bayreuth’s acoustics is its ability to carry even the softest notes, allowing you to sing pianissimo, almost in a whisper. It’s truly magical. Over time, I’ve gained the confidence to trust myself, realizing that I don’t need to strain or shout. Shouting is discouraged – it’s not what Wagner intended, the audience doesn’t appreciate it, and it risks losing the role. The best advice is to sing beautifully, faithfully serving the music and text, while placing your trust in Richard Wagner and the House.

You have a powerful voice that acoustically fits perfectly on Bayreuth’s stage. Also, your text understanding is remarkable, which is not self-evident nowadays. Considering the broad discussion in media and press about bringing subtitles to Bayreuth, what is your opinion about it? 

Your feedback on my text understanding filled me with immense pride. This goal has been my focus from the very beginning. In Bayreuth, there are no subtitles, which posed a significant challenge that I willingly embraced. I firmly believe that a singer must convey the text effectively, and the musical staff at Bayreuth supports me in meeting this challenge. My singing teacher, Gudmundur Jonsson, taught me that vocalizing is pointless if you can’t deliver the text. I recognize that Bayreuth’s acoustics can pose an even greater challenge for certain voices, like high tenors or high sopranos. Fortunately, I’m in a fortunate position because the vocal range of a substantial portion of my roles, approximately 70% of them, aligns closely with my speaking voice range. This allows me the luxury of singing with ease.Some theaters offer private screens with subtitles in different languages, which can be technically convenient and relieve pressure on singers. However, it can also divert attention away from the stage. 

From 2008 to 2017, you were engaged with the opera company of the State Theater in Saarbrücken, Germany. How would you describe this period’s impact on your vocal and career development?

I arrived in Saarbrücken in 2007 for a last-minute performance opportunity, which quickly led to a permanent contract starting in 2008. Prior to this, I had never even heard of the town. When I mentioned my plans to my great-grandfather, he humorously asked whether Saarbrücken was now German or French, highlighting the historical complexity of the region.Working conditions for young singers in Germany, especially as a fest (ensemble member), can be challenging. It’s a double-edged sword. But in terms of my career development, coming to Saarbrücken was a pivotal moment. I realized the importance of being in Germany for repertoire and language training. I hold great respect for Germany because it still offers full-time job opportunities to singers, unlike my home country, Iceland, which sadly does not provide such opportunities: A source of great disappointment for me.The first two years in Saarbrücken were tough, partly because the venue is somewhat secluded. However, after two years, as I began establishing connections, the situation improved. Overall, I am grateful for my time in Saarbrücken as it allowed me to add important roles to my repertoire, and let’s not forget the fantastic food and wine – a definite bonus. Can’t go wrong with that. 

Let’s talk about Wagner’s voice. How would you define it? Who is Wagner’s opera singer?

There’s a common misconception that Wagnerian singers must possess humongous, exceptionally loud voices. However, this belief is far from accurate and has persisted for a long time. When you are about to sing more prominent Wagner roles, you need to be established in your singing technique. When preparing to take on substantial Wagnerian roles, it’s crucial to have a well-established singing technique and a deep understanding of your voice as a musical instrument, along with its capabilities. Wagner was an astute composer, and any shortcomings in your singing technique become evident within the initial pages of his scores. 

Shall let’s try to define some criteria of a Wagner-Singer? First, a stable singing technique? How about the body?

In reasonably good health. A physical and mental stamina is required to endure a performance of 100 pages or a three-hour duration, with a greater emphasis on mental stamina, which is even more crucial. 

If I were to make a chart for “Who is a Wagner-singer?” it would include physical and mental stamina, a good singing technique, a clear text understanding / articulation, and no forcing the voice. Do you agree?

Yes, that’s quite a clever way of presenting it. All named criteria must be in a good balance which is important in my case. My vocal development occurred later in my career, resulting in a journey marked by numerous trials and errors. I’ve taken on roles that didn’t quite suit my voice, and I’ve had to navigate my way through them. I consider myself fortunate to have embraced Wagner’s repertoire around the age of 40. Had I attempted it five or eight years earlier, I might have made some missteps that could have potentially harmed my voice and hindered my progress. 

How do you see the development of the young singer’s generation in the next five to ten years? What would you suggest to young baritones who are about to enter professional life?

Everyone’s journey in this career is unique, and mine was no exception. Balancing my family responsibilities while pursuing this path wasn’t easy, but I don’t mean to complain. My advice to young singers is to ensure they work with the right mentors and collaborators. How do you do that? Well, my teacher always said, “Rule number one: never believe your teacher.” He meant that as a young singer, you’ll receive a lot of advice from various people, but ultimately, you’re responsible for your singing and career. You can’t blame others if something goes wrong on stage. It’s essential to be honest and discerning when seeking advice. Mistakes will happen, but they’re valuable learning experiences. Stay flexible, explore different repertoire, and don’t hesitate to try new things. Sing Figaro before Wotan.Starting a career today is exceptionally challenging, with immense pressure for instant success. Many young talents think they’ve failed if they don’t achieve overnight stardom. This “Simon Cowell syndrome” is perilous. Young singers need patience, self-confidence, and a bit of luck. They must also create a healthy, private, and financially stable environment. Fest positions in German theaters are dwindling, making it a stroke of luck to begin a career in a supportive, creative team.I occasionally offer lessons and advice to aspiring singers who reach out. While I don’t teach regularly, I’m always open to meetings and discussions. It’s my way of paying it forward, given how grateful I am for my current career position, and I’m happy to share my experiences with younger colleagues. 

The years of the Pandemic greatly impacted the music and theatre business. I recall established singers complaining in the press that they lost everything and being ruined. But I also heard from some established singers that they unwillingly received a unique opportunity to lean back and simply let the voice rest. How did you experience this time?  

I managed relatively well during the pandemic compared to many colleagues. My primary concern was the health and well-being of my family and those around me. Remarkably, the pandemic had a positive impact on my family’s life. We had recently moved to Berlin, and we were in the process of settling into our new home and got a unique chance to get to know the city.At the start of the pandemic, my career was at an exciting turning point, with Bayreuth on the horizon. However, as the pandemic waned, I faced a setback due to a severe accident that landed me in the hospital. Just when work was gaining momentum, I had to cancel everything for several months. If I believed in fate or a higher power, I might have thought that someone was playing a cruel joke on my career, dooming it. But I remained positive and resilient. Life is meant to be enjoyed, and I don’t dwell on the past. I got back on track, and things are now looking up. 

Considering geopolitical and cultural transformations currently occurring around the world, how would you define its impact on getting work as a freelance singer?

The cultural sector is undergoing constant change in today’s world, influenced by factors like the pandemic and the current political situation in Europe. These developments have significant implications for freelancers. Opportunities for guest appearances are diminishing, and there’s a noticeable shift with theaters increasingly favoring their full-time (fest) singers. There is also talk of declining fees, a pattern we’ve seen before.Additionally, the current state of war has disrupted cultural travel and exchange. For example, I had plans to perform in Moscow, which are now on hold. I don’t intend to paint a bleak picture, but I’m genuinely concerned about the opera industry in my home country. It appears that a comprehensive rebuilding effort is needed. Considering Iceland’s small population of around 400,000, it’s remarkable that the country has produced a significant number of professional opera singers who have achieved international recognition, despite minimal support from their homeland. Young Icelandic singers can access student loans, but they face a lifetime of repayment. This situation is a cause for concern.

Well, the last question is for our Mexican readers. Have you ever sung any Mexican music? Is it of interest to you? Would you like to perform in Mexico?

I have had the luck to be close friends with two wonderful Mexican colleagues, both tenors. The late Rafael Rojas from Guadalajara and Joel Montero, with whom I worked with on many different productions. Rafael inspired me by teaching my Mexican cuisine and introducing me to traditional Mexican music. I have, unfortunately, not sung that style of music myself, not yet at least. It would however not be surprising to hear that music playing either in my car or on my headphones on my travels. Joel Montero generously invited me to take part in concert tours on three different occasions in Cancun, Playa del Carmen and various places and venues around. We performed both in resorts and concert halls all over. It was the most wonderful and memorable experience. I miss it and can’t wait to return. 

Let’s keep our fingers crossed. Thank you very much for the interview, and we wish you all the good, lots of success, and exciting roles.

Olafur Sigurdarson schedule on Opera Base