Did you ever consider a career outside of music? Doing what?
I’ve always known I wanted and needed to perform and I’m slightly obsessed with text and interpretation, and how the smallest change of inflection can change the whole meaning of a sentence. I think that both those roads mean I’d have loved to have tried being an actor.
What single thing would improve the format of the classical concert?
Connection. It often feels like there is a barrier between an audience and the performers. An audience isn’t there just to listen, but to be engaged. We musicians do what we love (I hope) and in performing live we get to show and share that joy. By individually showing how we feel we can make sure a concert can become an experience rather than just music making.
What was the last piece of music you bought?
A collection of Schubert lieder. It amazes me that his music seems to transcend the poetry he is writing it for – in some ways you don’t even need the words to feel what he is trying to convey.
If you had time learn a new instrument, what would it be?
While I’d love to learn the cello, I think I’d have to say the piano. Being able to go crazy and improvise would be great, and being able to accompany myself when learning a role would be even better.
If you had to pick one work to introduce someone to classical music, what would it be?
Bach’s St Matthew Passion. Words can’t describe why.
What is the most unusual place you’ve performed?
In 2003 I applied and was selected to sing (as a baritone!) the national anthem at the Rugby World Cup in Australia. Now, I could say that a stadium gig in front of 83,000 people and the watching millions was unusual, but on our return, Belinda Evans and I sang at the Sports Personality of the Year. This was before the BBC made the event public so the audience were solely sporting royalty – Martina Navratilova, George Best, Boris Becker, Torvill and Dean, Desmond Lynam – it was a rather surreal and special evening.
What’s been your most memorable live music experience as an audience member?
Phelim McDermott’s production of Akhnaten at ENO. I didn’t expect to fall in love with Philip Glass’ music (and the key of A minor) as much as I did. I could have watched that show every night. It was a stunning piece of art.
We’re giving you a time machine: what period, or moment in musical history, would you travel to and why?
Being a countertenor, I’d be interested in heading back to the days of the castrati. To be able to hear the uniqueness of their voices and witness the changes the act itself made upon their physiology would be fascinating.
What is the best new piece written in the past 50 years?
This was a tough choice, but I’ll go for Jonathan Dove’s 1998 opera, Flight. Modern opera orchestration tends to support dramas and tragedies well, but there are very few comedies. Flight is brilliant not just because of Jonathan’s musical writing but also his deft mix of humour and sadness. It is a show to be enjoyed, accessible to all listeners, and even now 20 years since it was written still as pertinent as ever with its core story revolving around the Refugee and the lengths he will go to to find safety and freedom.
Which non-classical musician would you like to work with?
Assuming that I’m not allowed Michael Jackson or George Michael, I’d love to go all country roots and work with Dolly Parton. What a legend - wonderful voice, great lyrics, and someone who so obviously loves the music she makes.
What do you sing in the shower?
Normally some earworm from pieces I did years ago - never something I’m currently working on, weirdly. Bits that pop to mind are an “et in terra pax” which was my first solo at music college (I can’t remember what it was from!), Tu m’offendi from Vivaldi’s La verita in Cimento, and Flow my Tears by John Dowland.
It’s late, you’ve had a few beers, you’re in a Karaoke bar. What do you choose to sing?
With three children (and a bump), sneaking out for a cheeky beer happens far less that it used to, but, it would have to be the icon that is Jon Bon Jovi with a bit of Blaze of Glory.
James Laing sings Armindo in Handel’s Partenope with English National Opera from 15 - 24 March at the Coliseum, London.
