Ahead of our upcoming Handel in Rome performances, we caught up with soprano Nardus Williams who made her debut with Dunedin Consort as Belinda in Dido’s Ghost.
You first performed with Dunedin Consort as part of Errollyn Wallen’s Dido’s Ghost. How does it feel to join us again – this time on the concert hall stage? What do you like most about working with us?
It’s an absolute joy to be performing with Dunedin Consort again. There are so many things I relish about singing with the Consort. It is such a warm and welcoming collection of people, and this translates into their music-making. I feel like I become a member of the ensemble for the week, rather than a separate entity. Without wishing to descend into cliché, there’s no one thing I like most about working with Dunedin — I simply love everything!
You’ve had a hand in developing the programme. Are there any of the pieces you’re particularly looking forward to exploring?
Perhaps because I have had a hand in developing the programme, it just so happens that I enjoy singing every single one of the pieces! One interesting aspect for me will be singing the two cantatas, as I will have just finished a staged performance of a Handel cantata at the London Handel Festival. Obviously, it is fascinating to create a fully-fleshed out drama from the music, but equally, the music is so fantastic they work just as well as a stand-alone concert pieces, and I appreciate being able to focus solely on a musical delivery driven by the text.
What do you think is the most important thing to share with audiences as a performer?
What I admire most in any performance is a passion, and detailed understanding of the music from the performers, allied with a sense of ‘storytelling’. So, when I am on the other side of the stage those are the elements I strive to bring across.