Meeting Natalya Romaniw

It’s Sunday lunchtime in early March and I’m meeting Natalya Romaniw for the first time, thanks to Zoom. I’m at home in Clapham and she’s in Hamburg, being mid-way through her current engagement with the city’s Staatsoper as Tosca. Last night she was on stage so today she’s having a chillout day in her temporary serviced apartment home.

Natalya has sung the Tosca role a few times recently – she made her Royal Opera House debut in the role just before Christmas (to much critical acclaim) and last week had a jump in for the current production of the opera at the Berlin Staatsoper (a house debut there, too). How does she manage to keep focused on the role and the different productions?

“Actually, it’s not as bad as it seems,” confesses Natalya. “I like the lack of scrutiny involved with being away from the ‘home crowd’. That sounds a bit odd, as of course I miss being at home with my partner, but here I can leave domestic thoughts aside and really focus in my own space.

“And whilst I have a great relationship with the UK audience and press, you’re always aware of the presence at home – whether it’s the build-up to a performance with the social media, or how you’re being judged on stage. Here in Hamburg, for instance, it’s an environment without that sort of pressure, I don’t feel as if I have to prove myself so much.”

It seems Natalya is enjoying her day off, away from the limelight, and has time to have a chuckle about some of the peculiarities of this current production. “Well, for one thing, this production is physically really demanding. In Act 1 there’s a steep rake to the stage and I’m wearing high heels, while at the same time the stage is strewn with slippery programmes, so it’s treacherous! At the end of each performance my calves and quads are killing me. I’m glad to have a day off today to rest my legs,” Natalya admits.

“Then in Act 2 I’ve been given specific instructions not to get blood on my costume when I kill Scarpia, but yesterday his blood pellet burst spectacularly and there was blood literally everywhere, so I don’t think I’ll be the most popular person in wardrobe!”

A fair deal of stamina is needed to get through a role such as Tosca, then. How does she keep up her energy levels?

“It’s really important to eat well – the right things – for this sort of ‘large’ rep. On a performance day I always make sure I have a good carby meal beforehand, and then have a good supply of bananas for in between the acts. That keeps me going.”

And what about those rituals, or talismans that some artists cannot be without before a performance?

“That’s not for me. If I did have a lucky charm, say, and for some reason it wasn’t there – I don’t know, I forgot to pack it or something – then that would freak me out. So no, I prefer to be without.”

So not even some practical items, given your living in a place that’s home / not home?

“Ah that’s different! I do have a small bag of essentials for trips like this. I know it sounds odd, but I always pack a mug or two (they’re never the right sort in rented accommodation), a decent supply of chicken stock cubes to rustle up a quick meal (you can’t guarantee to be able to buy them on your travels) and, of course, my steamer. That’s a vital piece of kit for any singer, in case the lurgy hits.”

What about her about her history with David Butt Philip – how far back do they go?

“I remember we met when we were both in the Glyndebourne chorus in 2009 and covering roles in The Rake’s Progress. He was still a baritone in those days – I think he was covering the role of Keeper of the Madhouse and I was covering Anne Truelove. We really hit it off there and have got on famously ever since.”

And what was the most memorable time working together?

“That has to be Iolanta in 2019 at [Opera] Holland Park. We were both super-charged, excelling in our roles and the chemistry of the relationship on stage just gelled. But I’m sure this was also due to it being Holland Park – it’s just such a lovely company.”

The last time the UK audience saw Natalya and David singing together was at the ENO’s drive-in La Bohème at Ally Pally in late summer 2020, so fans will be thrilled to learn of this reunion at the up coming St Paul’s Opera ‘David Butt Philip and Friends Gala’. But where will the audience find Natalya beyond that?

“I’m back at Garsington this summer singing Ariadne auf Naxos, then Verdi’s Requiem with the Philharmonia at the Royal Festival Hall, then Beethoven’s 9th at the Edinburgh Festival, and finishing the year back here in Hamburg with Jenûfa. And in 2024, I’m back in London for the ENO singing Bluebeard’s Castle, so I’m keeping busy!”

We’re very grateful she is! As well as her appearance with David Butt Philip at our fund-raising gala, make sure you diary at least one of these and do not miss this special soprano whose warm personality is there for all to see, on and off stage.

Patricia Ninian

Box office opens for SPO's 10th Anniversary Gala

DAVID BUTT PHILIP IS IN THE HOUSE