Objects & Apparitions

If you have followed the progress of our previous project, One Art, then the next phase, Objects & Apparitions will be familiar territory. If not – fear not – you can still enjoy this interpretation of Elizabeth Bishop’s life story without going back through the previous work.

One Art, the cabaret/opera monodrama, featured one performer portraying Elizabeth Bishop, reading her poetry and correspondence, and singing original settings of her poetry by composer Paula Kimper (you can read about the process of creating this piece here and here, if you are so inclined.)

Objects & Apparitions: the art of being Elizabeth Bishop, takes this concept and divides the role of Bishop among several performers, adding a narrator, sound effects, and incidental music in a recorded, podcast/radio drama format. The introduction of many ‘Elizabeths’ rather than one, highlights the universal nature of Bishop’s poetry and biography, as well as reflecting her own feelings of alienation; our performers have transnational connections and experiences, having moved countries, continents, multiple times and possessing multiple citizenships. Each of us is Elizabeth Bishop, and Elizabeth Bishop is all of us.

The podcast will begin on 25 January 2022, with interviews, episodes, and guest episodes released every fortnight.


From Aïda to Zaïde isn’t the only writing project I’ve been involved with! My short story, Venezuela, is included in IsleWrite’s latest anthology TwentyThirty: thirty contributors celebrate twenty years of IsleWrite.

My story was inspired by real events, but heavily fictionalised…all resemblance to real people or places purely coincidental!

Read it, and many more exciting, emotional, sexy, and intriguing short stories and poetry, as well as wonderful artwork, illustrations, and photos, in this beautifully presented anthology.

Find out more at https://islewrite.co.uk/anthology/https://islewrite.co.uk/anthology/

From Aïda to Zaïde: scribblings of a mad soprano

If you are a follower of this blog, you might be interested to know that I have taken the most popular entries, added a few (well quite a lot really) more stories and detail, and turned it into a book:

Funny things do happen on the way to the opera house… In ‘Scribblings of a Mad Soprano’ Laure Meloy documented her years as an opera professional. In this book she shares with us the personal stories that audiences rarely get to hear. From A to Z, we find out what happens on the other side of the stage door.

Advance orders are being taken ahead of the official launch date of 16 November 2020. Click HERE

‘Love the whole concept…found it very informative and touching.’

‘You look fabulous in all your different costumes!’

‘It is wonderful!’

‘Wow, what a great story! Your writing just made it come to life… I can feel my heart bouncing!’

‘Well said… Clearly a not-so-mad soprano!’

‘Wow…That view of the Metropolitan Opera looks awesome.’

‘Great article Laure. I didn’t think I liked opera… I was captivated.’

‘Yes! “Opera is not for everyone, but rather it is for ANYONE” Love it.’

‘So enjoyed your energy and wit…’

Heroic Hopes

Tonight would have been the debut of our Heroic Voices concert, but for the Great Pause… Ever the optimists, we have rescheduled. In the meantime, we’ll take the extra time and use it to expand, explain, and explore the background of the programme. #staytuned #dramaticvoices #heldentenor #dramaticsoprano #lateromanticism

Singers, we got this.

Amid all the fear, grief, and worry of the last few weeks, I’ve realised something positive: opera singers are uniquely placed to weather the Covid-19 ‘storm.’ All our training, experience, struggles – all the uncertainty we have to live with to pursue a career in the performing arts – has finally become truly useful!

(Please read, as it was written, with tongue placed firmly in cheek. Yes, the situation is AWFUL. Frightening. And it is terrible to have all our upcoming work cancelled, and not have any idea when we will be allowed, or whether we will even ever be invited, to get back to the theatre. But. Apocalyptic visions put to one side – and we truly can’t control these things, so let’s not lose our sanity – we should take a moment to gloat. After all, our careers have prepped us – better than anyone – to deal with this.)

The office

1. Singers are used to ‘working from home.’

We do it all the time. We learn our roles. We prep our audition pieces. We keep our technique strong. We (*ahem*) ‘rest’ between engagements. Many of us teach, handle our admin, etc. – at home. Most of us already have a home studio/office set up, and have already figured out the work/life balance stuff. (Hopefully.)

No idle hands here

2. Singers are quite good at keeping themselves occupied in an isolated, confined space.

When we are working away from home, in one of the world’s top opera houses (or even in one of the not-quite-top ones), we are likely to be in a strange city, alone. We tend to see quite a bit of the inside of our hotel rooms or digs. (And airport departure lounges.) This is why I knit. And subscribe to Netflix. Yes, there’s always shopping and restaurants and sightseeing…but you don’t want to spend your entire fee before you earn it. Besides, you have to SING, so you mustn’t go around exhausting yourself (once worked with a tenor who thought it would be a good idea to hike up a mountain the day of a show – it was not), and exposing yourself to germs, which brings me to…

3. Singers are world champions at avoiding rhinoviruses.

Masks? Gloves? Hand washing? Pah! Child’s play. We singers take germ paranoia to a new level. After all, if we get sick, we don’t sing, and if we don’t sing, we don’t get paid. So we’ve flown halfway around the world just to sit in a hotel room. Knitting, while watching Netflix. No thanks, could have done that at home.