The contours of Operalab are nevertheless clearly defined. The students of the IOA work on a performance for two weeks. They have a black box at their disposal: an empty stage with minimal lighting, no costumes and no props. The expected outcome: a full evening programme with their voices in the leading role.

During their two-year course in Ghent, the students will attend and (co-)create four Operalabs. Each time, they will be assisted by an acting coach and a singing coach. For the very first Operalab, Flemish actress and director Elien Hanselaer and British soprano Kate Royal will take on these roles. What do they want to teach the up-and-coming opera talents?

KATE ROYAL he whole point of Operalab is to teach students a creative and spontaneous way of working. To do this, we go back to the basics. In opera, so many elements compete for your attention, but in Operalab we remove all the excess. This forces the students to focus on the core, which is really understanding what they feel and think while they are singing.

‘Today, opera can be anything, including musical theatre, vocal theatre, etc. These singers will have to be seriously flexible.’

— Kate Royal

KATE What opera is, also changes. When I was a student, opera mainly meant grand opera, traditional bel canto. Today, opera can be anything, including musical theatre, vocal theatre, etc. These singers will have to be seriously flexible. Many singers admire performers they have listened to endlessly. That's fine as inspiration and as practice. At the same time, you want to hear their true voice – not someone else's. Students also need to learn to stick their necks out and be creative. Instead of just asking the director: where do you want me, should I go this way or that way? No, what do they think? What is logical and meaningful? In Operalab, they don't have any props or costumes to hide behind.

ELIEN I am convinced that their bodies have to do part of the work, so that their minds are free to sing and perform. I try to teach them certain physical skills, such as sensing where their fellow performers are on stage. Once you are trained in this, you no longer have to think about it. Then you have one less thing to worry about.

KATE They need to get back into their bodies. As singers, we are all so caught up in our heads. It's good when singers can follow their gut feeling. We want to encourage them to have confidence in that too.

ELIEN The great thing about Operalab is that it's a lab. We create Operalab as we go along. During those two weeks, we'll let them try all kinds of things. If it doesn't work that way, try something else... We ask for a lot of flexibility. That's something new for them.

ELIEN What I really appreciate about IOA is that it feels so professional, more like a working environment than a school. The IOA really tries to bridge the gap to the professional world, which is such a gift for the students. You can compare the IOA to top-level sport: it is a very structured environment that offers learning opportunities that would take a young singer years and a lot of discipline to achieve on their own.

KATE I would have loved to study here myself. The IOA really tailors the training to each individual singer. They help you to exploit your strengths and also recognise your weaknesses, so that you can work on them and be well prepared for the profession. The opera world has its downsides and pitfalls, which are often swept under the carpet. At IOA, we try to train young artists in a realistic way. As a singer, you spend countless hours alone – you strive for perfection throughout your entire career. In that respect, it is similar to top-level sport. The longer your career lasts, the more difficult it becomes to maintain that high level. You have to constantly look inward, critically examine yourself. And you have to learn how to do that in a healthy way.

ELIEN In addition, it is also important to be a nice person, someone people want to work with. Directors do not always choose the best voice or the most talented person. There are so many factors that come into play.

KATE Talent is the raw material and they have to develop it. They will have to practise very hard for that. We will assist them in this, but they have to take responsibility themselves. We hope to inspire them to be singers who have great energy, who are consistent and yet want to try out a lot of things.

OPERALAB International Opera Academy

With Operalab, the International Opera Academy, together with Opera Ballet Vlaanderen, is launching a laboratory for expression and innovation, in which a new generation of opera artists is preparing to take to the stage.