Narrative arcs for the heroines of opera span some of the worst of human experiences including sexual abuse and assault, physical violence and femicide. Or as French philosopher Catherine Clément stated in her seminal 1979 work Opera: or the Undoing of Women, ‘they suffer, they cry, they die’.

In recent years there has been a concerted effort in some parts of the industry to address misogyny in opera artistically, with reworkings of canonical opera that centres instead on the female experience, and new commissions that address themes of sexual violence from a contemporary perspective. However, until recently, little has been done to support the humans who have to embody these roles.

‘An opera that appears feminist onstage does not necessarily translate into the process offstage,’ one singer told me. Even where care is taken to portray female stories onstage, often the creation process often does not match the product.

In the process of writing this article, I spoke to a number of female opera singers. They ranged in age from mid-30s to mid-60s, and all work as soloists at home and abroad. All chose to remain anonymous, for fear that speaking about their experiences would impact their work prospects.

The impact of portraying sexual abuse in opera

A performer’s ability to portray characters onstage with great vulnerability is highly prized, but in this often-conservative industry, showing signs of stress, anger, sadness, or mental health difficulties offstage can be seen as a weakness. It feels risky to express vulnerability or to ask for care because, as freelancers, most singers have no job security.

But sexual violence is a common plot point in opera and the victim/survivors are overwhelmingly female characters, played by women and non-binary people. The Office for National Statistics estimates that one in four women have been raped or sexually assaulted in the UK (Elkin, 2023).

Research suggests that instances of sexual assault may be higher among opera singers. A study of systemic discrimination against women in opera by US-based performer-researchers for Middle Class Artist found: ‘When it comes to decisions about their bodies ... women in opera are excluded, harassed, and in some cases attacked’ (Finkelstein, Labonte & Varga, 2020). The 2022 Independent Society of Musicians report on discrimination in the music sector found that 66 per cent of the 660 musicians surveyed had experienced discrimination in the workplace, and 58 per cent of this was classed as sexual harassment.

One singer described her experience on a production with no support. The music was very challenging, and the subject matter required the singers to embody dark psychological states. In one rehearsal of a particularly gruelling scene, the conductor ‘screamed in my face for not being a human metronome, in front of a room full of people, none of whom stepped in. I finished the session but ended up crying for 24 hours before having to return to work with no aftercare.’

Despite the presence of the production team, no one felt able to challenge the conductor. This raises questions around how effective external support could be, when the people who hold the most power in the room are able to abuse it.

This singer’s experience of abuse is not uncommon. In 2020 I began creating PLASTIC BODIES, a multimedia opera about opera, with my collaborators Amy Bryce, Sarah Parkin, Maya-Leigh Rosenwasser and Catherine Valve. This work shines a blacklight on hidden abuse in the opera industry, and we began with a social media callout, asking singers to share examples of comic or terrible things said to them during training or in the opera rehearsal room.

We had over 400 responses. in three days. These included: ‘You have the perfect voice for trouser roles but the body of an old bag.’; ‘You’re like fish and chips – common food.’; ‘They can’t place you, you’re too exotic.’; ‘Have you ever wanted to kill yourself or do you just think you can’t sing?’

#MeToo and introducing intimacy coordinators

In the aftermath of the #MeToo movement, there has been greater awareness around the need to treat traumatic storylines with care and, here in the UK, opera companies are increasingly employing experts to provide support. This includes the use of intimacy coordinators, which first gained traction in the film industry after Harvey Weinstein’s prolific sexual abuse was exposed in 2017.

Intimacy coordinators are hired to choreograph and oversee any scene with nudity, intimacy, or simulated sex including sexual violence as well as fight scenes. There is also increasing understanding of the need for psychological support in operas with traumatic storylines, and some companies including the Royal Opera and Ballet are investing in artist well-being services. This might include group or individual sessions with trained psychotherapists, or support from performance psychologists.

The singers I asked about intimacy coordinators and well-being teams explained that, largely, their presence is welcomed, but there were doubts about how effectively they are being deployed. One principal singer spoke of joining the chorus for a very violent scene. The chorus had had multiple sessions with an intimacy coordinator to prepare, but the soloist was expected to just ‘slot in’. She found herself in tears in the toilet after, and wondered, ‘if it was violent enough for the chorus to need additional support, why was I not afforded the same care?’ Another said that ‘it is much less likely that a company will employ intimacy coordinators for more experienced singers. We are just expected to get on with it’. There was awareness from the opera companies of the impact of working with traumatic material, and there was a concerted effort to support some of the singers, but unfortunately not all.

One singer I spoke to described a positive experience of psychological support in opera: ‘The subject matter of the opera and my character in particular was so challenging that I was experiencing a mental block trying to memorise it. The head of the therapy team at the first meet and greet had encouraged us to get in touch, so I did. After two sessions, the work we did unlocked something and I was able to memorise the role in a weekend. Her work was targeted, productive, anonymous and a safe space allowing me to separate my personal experience from the role I was playing.’

Ongoing sources of stress

Still, the rehearsal room is complex and multi-layered. Many of the singers interviewed mentioned insufficient rehearsal time and fees that have not risen in more than a decade compounding the abuse they experience on- and off-stage. One singer stated: ‘So many singers have a litany of horror stories and too often we become collateral damage because of the inadequate working conditions’.

Brutal arts cuts over the past couple of years have resulted in pressure on opera companies to slash costs. However, there are many directors, producers and focus groups such as I:Opera using their positions to improve working conditions in the UK, and I have been lucky enough to work with some of them.

As one singer said, ‘There is plenty of good practice – it just needs 360-degree thinking.’

If the powerholders in the industry took the lead on this, others would follow. Happier, healthier artists will also make the business more effective. Perhaps artist well-being could be viewed as a worthwhile investment, rather than an unaffordable expense? ON

Rosie Middleton is a mezzo-soprano specialising in new music, and a doctoral researcher at the RNCM. rosiemiddleton.com

This article originally appeared in the Winter 2024 issue of Opera Now. Never miss an issue – subscribe today