Boston Singers' Resource News Bulletin, March 31, 2004

BSR member and writer, Denise Konicek, interviews the lovely and multi-talented young opera director, Kirsten Cairns. Ms. Cairns is presently the interim director of opera at Boston Conservatory for 2003-04 season, an NEC vocal performance graduate, and a former Opera North directing intern. Her next opera project, "With Blood, With Ink" by Daniel Crozier and Peter Krask goes up this weekend at Boston Conservatory (details below.)

Imagine you’re looking for an opera stage director who is capable of plumbing the depths of your chosen opus. Someone perhaps who was passionate enough about stories to have majored in Literature as a college undergraduate. You’re also wondering if there’s someone who knows enough about singing to help the cast with both story line and vocal technique to make the most of the material at hand. A graduate diploma in voice from New England Conservatory, performance of a considerable list of opera scenes, and stints in directing the Young Artists at Opera North would cover that aspect nicely. Oh, and it wouldn’t hurt if the director also had studied dance and had experience in choreography as well as more than ten years of dance performance - that would certainly help bring out the gestures that are always built into a good opera score. How about adding in considerable experience in staging traditional theater, including an award as ‘best director’ at age 15 in a youth theater festival? Have a fight scene with swordplay? Then you need someone who has studied fencing. Wouldn’t it be nice if the person also had a teaching certificate and thoroughly understood the learning process? And I almost forgot – you’d most certainly want this director to be a nice person besides being so multi-talented.

You’re probably looking for Kirsten Cairns. And she’s located – at least for the moment – in Boston. As the interim Director of Opera at Boston Conservatory, Kirsten is enjoying spreading her wings. “As a child, I always felt that being in the theater was not only magical, but was where I wanted to be. When you’re very young you tend to think about fame in relation to the arts. Now that I’m an adult I realize how lucky I am just to be able to make a living in my chosen environment. It doesn’t do one any good to get too fixated on one particular goal. You have to have an attitude of discovery about life – about yourself. I love directing and I’m having a terrific time developing my potential in this field.”

Kirsten has certainly done a lot of discovering about herself along the way. She began studying ballet at the tender age of 2 and added tap at age 4. Dancing was her passion, and becoming a professional dancer seemed like the logical direction “until I got to about age 9 and realized that my physique was not going to be that of a prima ballerina and I just didn't have the talent.” Even with this realization, her commitment to dance was strong enough to carry her through studying and performing in ballet, tap, ballroom, contemporary, jazz, and funk until she finished her undergraduate college days.

Growing up in England, Kirsten was an avid reader and devoured plays and other classic literature. When she was a mere nine years of age she performed Shakespeare’s ‘Midsummer Night’s Dream,’ playing the Duchess. “We had no business doing such a great work at that age but it was inspiring.” At age eleven she had a very special birthday party: friends were invited to write and perform an original play in the course of an afternoon and evening. Kirsten of course was the director. (“My father helped out with the special effects. We had one scene with a disappearing act, and he waited for his cue to ‘pouf’ the talcum powder for our smoke' "My father and my friends were very patient with me" she laughs!) She directed several productions during her high school days and capped off that era by writing and producing the graduating class’ traditional Christmas pantomime production. “We did a take-off on Goldilocks that was titled Moldylocks.” While completing her bachelor in English Literature at the University of Durham, Kirsten directed two major works – ‘Who’s Afraid of Virginia Wolff’ and ‘Stepping Out.’ Then she did no more directing for over five years, until she came to Boston.

The directing had temporarily taken a back seat to her singing. At age twelve Kirsten got involved in her middle school choir. Recognizing a good voice, the conductor encouraged her to pursue study. She took her first series of lessons from age fourteen to eighteen. “I was fortunate to have studied with a teacher that knew how to leave well enough alone with a young voice and not force things.” She continued her vocal studies while completing her English Lit degree. By the time of her graduation from Durham, Kirsten knew that she had a good voice and decided to try for a singing career. She completed a Masters Degree in Voice from the Royal Scottish Academy of Music and Drama– focusing on opera, right? Wrong. Why in the world not, with her background? “I had a different goal with my vocal study – I knew how the theater aspect worked, and I wanted to focus on my musicianship skills. So I concentrated on oratorio, art song, and sang in the concert choir. The chamber conductor at RSAMD was brilliant and is responsible for my sight reading skill level today. He thought nothing of handing us a contemporary piece and announcing ‘oh by the way, we’re doing this in two weeks.’ We may have thought this was impossible, but he refused to allow us to think we couldn’t do it, and we succeeded every time. My three best friends were composers and I spent many happy hours discussing music theory with them and learning from them.”

Kirsten then set her sights on further post-graduate voice training in the US. Applying to several East Coast schools, she received multiple acceptance letters but chose New England Conservatory. During her time in the NEC opera program she gained valuable experience preparing opera roles, but she also continued her journey of self-discovery. “Among the voices at NEC I recognized that I was good – but not outstanding. And I’m a lyric soprano. There are lots of us. I will always sing, but I knew if I tried this as a living I would always have a ‘B’ career, and I know I have the capacity and desire to be involved in some way in an ‘A’ career.“

Trish Weinmann, Director of NEC's Opera Workshop program, knew a good thing when she saw it. Recognizing Kirsten’s abilities, Trish involved Kirsten in staging of opera scenes, and provided a recommendation for her application to direct the Young Artists Outreach Program with Opera North, which she did for two seasons. Near the end of her first season, Kirsten received an email from Cecelia Schieve inviting her to be a faculty member at Boston Conservatory directing opera scenes and coaching singers. Then Cecelia accepted a position in Alaska with Anchorage Opera. Her departure created a one-year hiatus for the Head of Opera at TBC. Kirsten is filling that role for the 2003-2004 season.

What about the future? “I’m not sure where I’ll go from here but I'm focusing on directing. I’d love to freelance but my current visa only allows me to work at TBC. I hope I’ll be staying at TBC next year but we’ll have to see what happens when Sanford Sylvan arrives (he has been chosen as the new Head of Opera for TBC). I feel like I’m taking baby steps in many ways. You know, you always hear about the ‘overnight success’ stories but in fact the person usually has worked hard for maybe 20 years to get where they are.”

Kirsten is well aware of the fact that forging a career as a woman opera director in this world will be difficult. "A woman always has to work harder to prove herself capable." she says. "It will take a lot of hard work as well as lucky breaks," she adds. "But, ultimately, being a woman could work to my advantage, because there's always that added 'novelty' or kudos to that fact that you do all that and YET you're a woman!!" She mocks. "So you can use these things to your advantage, sometimes- it's just about getting the breaks in the first place, and that is hard for everyone but perhaps even harder for a woman."

Advice for others wanting a career in the arts? “It’s vital to make contacts wherever you can. Remember – you never know who is going to be your next important contact. I’ve even had some good leads through my dad’s business associates. Never turn down chances to mingle with strategic groups (though this probably doesn’t often include your mates in pubs). Make a good impression wherever you go – the world is a small place. Network judiciously: don’t aim to connect with others who are ten levels above you – take it one level at a time. And seize the day! Most of my opportunities have come with six months or less notice, so you need to keep a flexibility of mind.”

UPCOMING PRODUCTIONS
Kirsten Z. Cairns, Director

“With Blood, With Ink”music by Daniel Crozier; libretto by Peter M. Krask
Boston Conservatory Opera Program
April 1-3 2004 at 8pm"
Boston Conservatory Theater, Hemenway St., Boston. $5-$12

“Three Little Pigs” by John Davies
Boston Conservatory Opera Program
Children's Opera using music from four Mozart Operas.
April 24, 2004 at 12pm and 2pm
Seully Hall, 8 The Fenway, Boston. FREE - advanced reservations available from the box office.

Tickets available from the BC Theater Box Office (617)912-9222 or at the door.
More information can be found on the website: www.bostonconservatory.edu

For more information about Kirsten Cairns or to contact her, please email kzcairns@hotmail.com or call 617 524 2321