New Zealand-born opera singer Katherine Wiles has been a permanent member of the Opera Australia Chorus since 2007. She has performed and understudied several principal roles with Opera Australia, State Opera South Australia, New Zealand Opera and several companies throughout the United Kingdom. Her career highlights include performing at the Edinburgh Festival; guest soloist onboard the Royal Yacht Britannia, Scotland; touring Australia with the 60th-anniversary production of 'My Fair Lady,' directed by Dame Julie Andrews; and performing in the Concert Hall at Sydney Opera House. Katherine holds a Bachelor of Music (Honours) from the University of Auckland, FTCL Voice from Trinity College, London, and a Master of Music (Advanced Opera) from the Royal Conservatoire of Scotland. She is the Australian Ambassadorial Advisor for the Dame Malvina Major Foundation and continues to perform full-time with Opera Australia. Katherine talks to NZ Booklovers about No Autographs, Please!
What inspired you to write this book?
In the beginning I actually started noting down comments that I heard in the dressing room, or in general conversations both within and outside of the arts industry over a few years before considering writing any type of book. I woke one morning and typed the following question into my phone 'how many young singers dream of having a career in the chorus', and before long, I had started to expand on the many ideas I had noted down. After doing some research I realised that there were hardly any books written from the perspective of someone who works in the entertainment industry but not in a leading role position, the ‘cogs in the wheel’. The only books I could find were those of well renowned opera singers and performers, and that the reality of the industry was very different for most of us. I suppose this became one of the reasons for writing my book. I also felt it important to put my position within the industry into the spotlight, and to offer a tool for singers or performers in general that yes, you can have a very successful career as a performer, even if a solo career doesn't work out or is not possible.
I wanted to write from the perspective of the working singer, to make it accessible for people who are unaware of how the industry works, understand its content or relate to my situation. Opera can be seen as very elitist, so I tried to write it in a way that allowed for a wider demographic. I wanted it to be lighthearted in places and not full of technical terms for the general reader to realise that opera singers are 'normal' people and that we don't take ourselves too seriously. This was extremely important to me. I suppose my purpose for writing it was to celebrate my colleague's contribution to the art form and to highlight our standing in the industry. Everyone always wants to know what goes on behind the scenes, as this is a world that is very private and unknown to most people who walk into the theatre to see a show. I hope by writing this book, I have drawn back the curtain and offered the reader an insight into my life and in doing so, widened the lens on the opportunities open to young singers who are thinking about a life upon the stage, or about to venture out into the world of performing. This book celebrates not only the artform of opera, but I believe is relevant for the musical theatre industry, dance and choral singing.
What was it like writing about your career? Was it an easy or difficult process?
I travelled to NZ just after the start of the Pandemic in 2020 to be with family and help look after my Mum who was suffering from Parkinson’s Disease. With the very real uncertainty of my industry’s future hanging in the balance, I started focussing on my writing. In some ways, it became my creative outlet and an opportunity to reflect on what was already a wonderful career. At times I actually found it quite emotional to reflect on my time at Opera Australia, because I realised I had become in a sense, ‘institutionalised. If I couldn’t return to my job, I didn’t know what I was going to do.
I arrived in NZ having written 5,000 words, and by the time I left six months later, I had written around 50,000. During this process, my thought process shifted, and I came to the conclusion that I NEEDED to write this book. The importance of putting my position within the industry into the spotlight became my sole focus. Coming to this point in my writing gave me the motivation to see it through to the end. There were periods when the draft sat in the bottom in my drawer. One particular time was after losing my Mum in February 2022. It wasn’t until nearly five months later that I felt ready to open it again and write Mum into the past tense. I found this a very emotional process. Actually, I placed a copy of this draft into my Mum’s casket before the day of her funeral, and made a promise to her that I would do my best to get our story out there.
Writing this book has made me sit back and appreciate all that I have achieved throughout my musical journey, both good and bad, and how far I have come. It made me realise that I refused to give up and without realising it, became determined to succeed one way or another. It highlights my sacrifices and heart aches but also the good times too and the successes.
Having never written a book before, I am not sure if the process that I took and the journey from writing down that first question to finally seeing my book in print, was a normal undertaking. I do know that at times it became all-consuming and I didn't know how many times I would need to re-write and re-edit sections of the book.
Halfway through 2021, I joined a writer's group with Writing NSW and this opened my eyes to a whole new world. My fellow writers became an inspiration and suddenly I felt accountable in presenting excerpts of my book for critique. I had never thought about active and passive voice before, and they introduced me in the gentlest way to a different approach, to finding my voice and delving deeper into my thought process. I am still a member, and I enjoy our monthly meetings.
Engaging an editor to undertake a structural edit was the best decision I ever made. Her name is Emma Driver, and as luck would have it, she also became my copy editor when I signed up with Echo Publishing. So, Emma has been a part of my journey for nearly three years. The first time she sent me back my draft full of track changes, I felt like throwing the computer out the window. She showed a huge amount of patience while talking this novice through how to use them. Actually, I have grown to love them, but the frustration and initial hatred of them was real. Emma always offered suggestions, advice and changes in the most encouraging way, but most of all, she let me keep my voice throughout the whole process. I firmly believe I wouldn't have found a publisher if it hadn't of been for Emma.
What was your routine or process when writing this book?
Initially, I didn’t really have a routine. I would just jot down ideas when I had a bit of free time in my schedule. But in NZ, I had read an article on creative writing. It mentioned that if you want to write, just spend 30 minutes a day on this activity. Regardless of what you write, just write and eventually it will become a routine and in time, clarity and a particular focus will emerge. So, every morning at 7am, I would make a cup of tea, feed my parents’ animals and head back to bed to write. Before realising it, I actually looked forward to this time of the day. When I travelled back to Australia in October 2020, it went on the back burner while I was slowly returning to work.
During the second lockdown of 2021, I really started to work on my writing daily. I had a routine of discovering a new part of Sydney every day and going for a walk, then coming home and working on my draft. It became an enjoyable process and slowly I started to realize that I had something that could, one day, potentially be a book of some description. Actually, before engaging Emma, I applied for a manuscript assessment through Writing NSW which deemed very helpful, but I was only allowed to submit the first 4000 words. From there, I knew I needed to work with someone on the entire draft so, as mentioned above, that is where Emma came into the picture.
When the time came to get the manuscript ready for submission, I felt like I had taken on a second full time job. I couldn't comprehend the enormity of this next task that lay before me. Every single one required different information, applications, submission requirements, questions, dates and windows of submissions, but throughout it all, I became obsessed with the process and was determined to fulfil all the criteria and try my luck. I fitted this around my performance and rehearsal schedule and would feel very chuffed with myself each time I pressed 'send'. Now the waiting game had begun and slowly but surely replies dribbled in, but I wasn't getting any bites. Thankfully, being in the arts industry for as long as I have, I’ve leant to deal with a decent amount of rejection, so I just kept thinking 'next'. It actually made me more determined to get my book out there, and my back up plan was my Dad's printing business in NZ that offer self-publishing services to authors as a side business.
I will be forever grateful to Echo Publishing for saying yes, but not only that, for giving me a chance. Initially it wasn't a ‘yes’, but it also wasn't a ‘no’. Juliet Rogers agreed to meet with me along with Diana Hill, to work on the first section of the manuscript. I needed to condense the first 20,000 words about my life before joining Opera Australia to 5,000 which I said I would accomplish in a week, and I did. After submitting what they required, I waited for what felt like an eternity, and finally, one afternoon in November, they made my dreams come true.
There is so much memorable music in your book. What are your three favourite songs to perform, and why?
If you're talking about chorus numbers (extracts) from operas, then it is extremely difficult to only pick three pieces, as I have so many favourites, but here are three that are very special.
1. ‘The Humming Chorus’ from ‘Madama Butterfly’ by Puccini. I adore this piece of music that we sing or 'hum' backstage. It comes at a part in the opera when Butterfly, her son Sorrow and her maid Suzuki are awaiting the return of her love, Lieutenant Pinkerton, the father of her son. There is complete stillness on stage, and she is filled with the hope that he will return, and they will spend the rest of their lives together. Little does she know what is about to unfold. Not everyone likes to sing this piece - it's not easy as it requires great breath control and as singers, we know that singing softly requires more technique than singing in full voice, but I could sing it every day. Actually, as you listen to it, you realise that it is very similar to 'Bring Him Home' from Les Misérables, and we all know which one was written first.
2. Anything from Puccini's opera ‘Turandot’. I think all the music in this opera is exquisite and it spans such vocal breadth, colour, emotion and technique. It is a tour de force for the chorus, as we are on stage for the majority of the opera, but it is definitely a satisfying night in the theatre. I love the end of Act Two after the tenor, Calaf, has answered Turandot's three riddles successfully. He then asks her a question 'do you know my name?' of which he then sings, 'my name you will never know' (il mio nome non sai) and suddenly the orchestra starts playing the first few bars of ‘Nessun Dorma’ - one of the most famous tenor arias - as a tease, because it appears at the top of act three.
3. The final chorus from Gounod's ‘Faust’. In the production at Opera Australia, we sing this in the loges of the auditorium in the dark. Thank goodness, because nearly every time I sing it, it makes me cry. Marguerite has been held in prison for killing her child. Mephistopheles helps Faust enter the prison, and she appears to recognize her lover, Faust. He is full of pity at the sight of her. She panics at the sight of the devil, Mephistopheles, and with a frantic appeal to heaven, she dies. He damns her but she is saved by the voices of angels which is the music we sing. It is so powerful and such a dramatic ending that even though it is only for a few minutes, it is a divine and very satisfying few minutes.
You have met many iconic stage legends in your career, who are two people you most enjoyed meeting and why?
I would have to say Jonas Kaufmann and Dame Julie Andrews. I have performed three times with Jonas, two operas in concert and one fully staged. It wasn't until this experience that we were given the opportunity to get to know him both on and off the stage. This performance was Wagner's Lohengrin, and it was the first time he had ever appeared in Australia in a fully staged production. Not only is he an exceptional artist, which was evident as soon as he joined us, but he was also incredibly humble, gracious and a real team player. I sang an octet in this opera with a group of sopranos and mezzos, and he made sure that we were included in the curtain calls. He was extremely conscious that it takes a village to put on an opera, and every person in that village is important.
I met Julie for the first time at my final audition for ‘My Fair Lady’, and even though she sat amongst 13 other people on the panel, she made me feel like I was only singing for her. She made me relax instantly and remained fully engaged in my singing. We chatted briefly afterwards and when I walked out of the audition room, it all seemed like a dream. I knew that if I wasn't successful, I would always have that moment, but of course having had that moment, I now desperately wanted to be a part of the production. Luckly, my prayers were answered, and I was given the gift of spending an incredible nine weeks in her presence. Every day in the rehearsal room was a masterclass. She showered us with her wonderful stories, her enthusiasm, her love of recreating the production she had been a part of 60 years before, and we hung onto her every word at note sessions. Her encouragement throughout the whole process was nothing short of extraordinary and when she finally returned to America, she continued to support us from afar with emails, treats, and messages.
It's a wonderful moment when you realize that people you have admired and respected throughout your life turn out to be nicer in real life than you could ever have imagined, and this is true with both Jonas and Julie.
What did you enjoy the most about writing No Autographs, Please!?
Cataloguing my career and realizing the extent of my achievements has been incredibly rewarding and humbling. It feels like a gift to leave a legacy, even if it is just one tiny book in a library, or on a bookcase, and to share it with generations to come feels like a blessing. I have honored my family's part they have played in getting me to where I am today, and kept the promise I made to my Mum in seeing my draft become a book. I feel very lucky and proud to put myself and my colleagues front and centre, and to celebrate my employer, Opera Australia, without whom this book would never have been written.
What did you do to celebrate finishing this book?
When I finally signed on the dotted line with Echo Publishing, I had already travelled to Brisbane to start rehearsals for Wagner's ‘Ring Cycle’ and ‘Aida’. My sister Lisa said to me one morning when I had a day off, that I needed to go out and celebrate or treat myself to something that I would never normally do. She said not everyone gets to write a book and secure a publisher, so she made me promise that I would not leave the shops until I had purchased something. I bought myself a beautiful Christmas Bauble and had it personalized with 'Book Deal 2024' in green glitter! I have collected Christmas decorations ever since leaving for the UK in October 1999, where my Mum gifted me a beautiful Pohutukawa decoration, so marking this milestone with one felt like the right thing to do.
My Mum passed away six days before my 50th birthday when I was in New Zealand. I had entered my second stint of hotel quarantine then spent three weeks with her before she died. To mark my 50th birthday and her passing, my family brought me a beautiful ring which resembles her engagement ring. I wear this every day, and it is incredibly precious. So, having walked into Swarovski, I decided to purchase a beautiful ring as a fitting memory of my book deal. I wear them both with pride.
What is the favourite book you have read so far this year and why?
I have really enjoyed the Lisa Hartley series, based on the character Catherine Bishop - On Laughton Moor, Double Dealing, From the Shadows and Home Fires Burn. Also, the author, Rachel Amphlett. Both these authors I discovered at my local library and their online app, Hoopla. I made a decision this year that I would try and read for half an hour every morning before starting my day and I have really enjoyed this. I think when I was solely focused on my own book, I let my reading lapse. I haven't read every single day, but I'm certainly getting through more books this year than ever before. I'm such a lover of the crime genre and am always excited to read the new Lee Child/Andrew Child and Michael Connolley books when they are released onto the market. Also, I loved reading Heather Morris' book Sisters Under the Rising Sun. When reading these types of books, I'm always checking Google to find more information about something I am reading, whether it is a place, person, event or subject.
What’s next on the agenda for you?
In terms of writing, I am not quite sure. I have a few ideas for a new book, but they are only ideas at this stage. I don't think I could write a novel or a piece of fiction, but I would be interested in helping to write someone else's story. Work wise, we are back to rehearsals mid September to prepare two productions we are taking to Geelong in November, then it is straight into the repertoire for our summer season back at the Sydney Opera House. I have also received my daily schedule for 2025, listing every rehearsal and performance for next year, so I already know what I am going to be involved in. During all of this, I fractured my ankle backstage during Tosca, sold my apartment and purchased a new one, which I will be moving into when I return to Sydney in September.
Echo Publishing