+++
author = ["authors/jenna.md"]
categories = "Interview"
date = "2015-07-20T17:53:00+02:00"
draft = true
lastmod = "2015-08-12T14:51:00+02:00"
primary_image = "https://res.cloudinary.com/schmopera/image/upload/v1545409169/media/webhook-uploads/1437410418183/094DWong-PRINTSquare.jpg.jpg"
related_companies = ["scene/companies/renaissance.md"]
slug = "meet-the-folks-opera-after-hours-debi-wong"
title = "Meet the folks: Opera After Hours&#039; Debi Wong"
+++

###  1. How did you first get into opera?

Well...I married an opera singer, so I was sort of obligated to get into opera :). I will admit though, it is pretty fun to see so many different opera productions around the world. What piqued my interest in opera, was actually my initial aversion to it. In theory, I was born to love opera: I love acting and singing and storytelling and the visual arts, I’m a classically trained musician, I understand a lot of the languages, but unlike any other art form, I was having trouble feeling invested in a lot of the productions I was seeing. It made me wonder, why? 

As I delved deeper and deeper into the world of opera, I became more and more interested in what opera actually is, and what makes it successful. And then I saw a production of *Billy Budd* at the Met. I was floored. Finally, (for me), everything lined up and worked together beautifully; the story, the libretto, the music, the acting, the singing, the staging, the costumes, the set - they were all perfectly intertwined and they were all believable and well executed. It made me realize that I am drawn to the complexity of opera, but it isn’t the easiest thing to pull off effectively. So I wanted to try it for myself!

### 2. What have you learned about the industry since starting your own company?

Oof. Since I am pretty new to the opera world, I’m learning everything I can. I suppose the biggest thing I’ve learned is that finding the right people and the right working environment is crucial to getting projects off the ground and keeping the company alive. We had the perfect creative team and cast for our debut production and I can’t actually imagine having done *#DidoAndAeneas* without that team. The same can be said for Indie Opera TO. When they invited us to join, I suddenly felt like I could consider moving forward with Opera After Hours because it is made up of truly amazing people who are all open to sharing knowledge and resources and supporting their colleagues.

### 3. What do you look for in young professional singers?

Acting skills! I mentioned above that opera fascinates me because it is so
complex and requires all parts to be well executed to be successful; for me, I have a hard time appreciating good singing if I don't believe in the character or the story that’s being told. I think a singer with great acting skills can make almost anything believable and exciting for the audience.

### 4. Who have been your influences or mentors?

I am really, really, really, lucky and really, really, really, grateful for my mentors. They are Ray Nurse, Rupert Lang and Andrew and Karen Dawes. I don’t even know what to tell you about them because there is too much. They have answered every email, with every stupid question from the day we first met, to today; they have sat through numerous coffee meetings and listened thoughtfully while I bombarded them with great ideas and horrible ideas; they have attended almost every single performance I have given in Vancouver. 

Ray has heard about and offered insight and comments on, literally, every concert program I have ever conceived of and performed; Rupert has been one of my singing teachers since I was 15 and he even drove down to Seattle to play my undergraduate auditions because I was so nervous; and when I had a car accident in 2004, Andy and Karen came to the hospital to keep me company, and Andy brought his violin and played Bach for me (we all laughed later when the VGH staff came by and said “that violinist was pretty good!”). 

I have learned so many things from them, but the most important is that there is great value in young performers but even greater value in supporting them and fostering their curiosity and passion and innovation in the arts. I hope that I will have the opportunity to take on this kind of mentorship role too.

### 5. What do you get out of your work with your company? What do you try to accomplish with each production?

I’m not sure how to answer this either, except that I can’t imagine not doing this kind of work. It is so satisfying to create a work of art with an awesome group of people and then present it to an enthusiastic audience. I hope that every production will be like that - a big collaboration between the creators, the performers and the audience. 
