Greta Bradman: The Don

Australian operatic soprano, and granddaughter of legendary cricketer Don Bradman, Greta grew up listening to classical music. Counting Luzzasco Luzzaschi and Hildegard von Bingen as her biggest inspirations she also admires the depth of Indian classical music. She reveals why her album My Hero, is a hit and how Zubin Mehta remains the greatest ever maestro.

When did you realise you wanted to become a soprano?

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I’ve wanted to sing opera and classical music since I was a little girl. I’ve always loved singing and have been inclined to sing pretty much whenever I’m awake—either under my breath or out loud! When I finished school, for a while, I thought I should pursue a career in the sciences. I still love research and science, but ultimately the pull of singing was undeniable! My family listened to a lot of opera and classical music and my grandfather Don was especially fond of music that included the female voice.

Your latest stint at the opera has been playing, Eurydice in Haydn’s opera L’anima del Filosofo. Which has been your favourite role till now?

My favourite role in many ways (it’s probably my favourite role to sing at this point!) is Leonora from Verdi’s Il Trovatore. I love the nobility, courage and passion of Leonora; I love the characters and how they are brought out musically—most of all it has some of the most exciting and moving music both from the orchestra and vocal lines. However, another favourite would have to be Handel’s Rodelinda, for its level of nuance and variety and because it was the first opera I did with Richard Bonynge.

You were led by maestro Zubin Mehta while touring with the Australian World Orchestra (AWO) in India. How would you differentiate between his leading and your experience with Bonynge, who also helped you record your studio album?

Both Mehta and Bonynge are legendary within their respective repertory. They have such depth of experience and musical wisdom. Whilst they are very different in their conducting style they both have this extraordinary capacity to bring out the essence, the emotion and a level of nuance from the music, which is just incredible. This time, with Mehta, it will remain one of the most precious moments of music of my life, in the same category as the time I spent with Bonynge prior to recording with him and the English Chamber Orchestra.

Your record with Decca Classics titled My Hero has just topped both classical and pop charts in Australia this May 2015. Tell us about this.

I am so glad that people are enjoying the album so much! When you’re in an opera, for the duration of the opera one is immersed in it, in its music and characters. When one is on stage in a concert with an orchestra, one is oneself between arias or songs/works. The connection with the audience is different. In the recording studio, it is different again because your audience has no eyes, hears everything, and one has this incredible opportunity to bring out whatever genuine interpretation of a work one has worked up with the orchestra and conductor. In each case, there is at its best the most wonderful sense of camaraderie and teamwork. Making music is an intense and serious yet highly joyful and enjoyable experience.

Do you think the reception of classical operatic singing is as great in India as it is elsewhere in the world?

The chief conductor of AWO, maestro Alex Briger, heard me and sent me to sing for maestro Mehta, who invited me on this tour. I’ve wanted to come to India for some time and I’m so glad that this opportunity arose. I’m also humbled to be making music with Mr Mehta and the AWO, which has some of the finest musicians in the world. India has its own wonderful (Indian) classical music traditions and Western classical music isn’t as big here as it is in Europe and America or Australia, Japan and China. However, with all of our concerts sold out, there is definitely interest here in India! Zubin Mehta has done a lot for that and the Mehli Mehta Foundation is doing the most extraordinary work with kids and teaching them about Western classical instruments and music. I know that for the musicians, giving kids concerts and going to slums and making music with and for kids there has been a real highlight of the tour.

Which are some of your favourite composers? Any pieces that you’ve performed that have left a lasting impact on you?

There are so many! Richard Strauss, Mahler and Schubert; Verdi, Mozart, Handel, Rossini; Luzzasco Luzzaschi and Hildegard von Bingen, all for different reasons. Each of these composers amongst many others have informed my musical journey and my voice. I see these composers as ‘teachers’ of the voice, via their music. They’ve been integral in teaching me how to sing.

From the January 2016 issue of L’Officiel India.