The classical star talked about making opera affordable, her heroes and whether she’d snog Elton John
2.28pm GMT
Ok guys! So they're chucking me out of the Guardian office now. Actually it's the webchat that's expiring shortly... but it's been so great to chat with all of you. Thank you for stopping by. There are a couple of people (DouglasBateman, wryobserver, dhc1970) whose questions I wasn't able to answer directly for two reasons: 1) time constraints, and 2) I actually had already answered the same question in an earlier post. I hope you'll find the answers further down the chat, and... sorry!
Thank you so much for supporting classical music and classical artists through new digital forms, and please please please, if you love classical music and classical artists, tune in to BBC4 on December 18 to watch the premiere of my documentary Birth of an Opera: Danielle De Niese on The Barber of Seville.
Birth of an Opera: Danielle de Niese on The Barber of Seville is on BBC Four on Sunday 18 December at 7pm – the documentary follows her preparation for the role of Rosina.
2.20pm GMT
unclearleo asks:
Do you sometimes wake up in the middle of the night yearning for the Phantom?
...of the Opera?
2.19pm GMT
rohandesilva asks:
Great singing! When I was a kid in Sri Lanka, we were friends with many de Nieses - those I remember, Rex and Louis. I think Rex emigrated to Australia. Related?
Thank you so much - no idea if we're related. It's very possible they are!
2.18pm GMT
LaCoccinelle asks:
I live in SW France and am able to watch operas streamed from the New York Met. at a cinema in Gaillac, so, have been lucky to have seen you. Do you have any plans to sing with them again?
Definitely plans to return to New York - but obviously I'm not allowed to announce them! :-)
2.13pm GMT
Anbaric asks:
How did it feel taking The Barber of Seville to the Proms this year, and performing to a very different crowd to the Glyndebourne audience?
Royal Albert Hall is always a hugely special venue for me. I've been so lucky to have some major successes there, and I feel that even though the venue is so big, it's extremely intimate. It's a really hard thing to describe to people unless you've performed on stage there yourself, because as an audience member there - and I've been an audience member there - it seems sooooooo vast. As a performer, it is totally possible to capture the attention of 6000 people as if they were one person, and I don't know how that works in the Royal Albert Hall but it does. I've sung arias there where I've been able to hear a pin drop. And then I've also heard the audience roar in approval in a way that is overwhelmingly emotional, because of the sheer numbers. And then by contrast, you can hear ten people laugh really close to the stage and it feels like they're in your living room. The Glyndebourne prom is always so special because we get to bring so much of the set, costumes etc up to London in a semi-staged show setting. So it was just incredible to come back for the Barber at the Proms. The audience was hugely appreciative, and funnily enough I know the crowd is slightly different from the Glyndebourne audience, but it didn't feel that way - the love, and the appreciation, and the crowd response, and laughter, was equally hearty. I can't wait until I get to come to Royal Albert Hall again.
2.11pm GMT
Brian Stevenson asks:
I first saw you as Cleopatra in 2005 and was completely swept away by you and the production at Glyndebourne. Do you have any plans to perform Cleopatra again? (I’ve seen other singers as Cleopatra and they are nowhere nearly as good as you. ) Can I ask a supplementary? How important is ‘charisma’ for a singer? You certainly have it.
Hey Brian - nice to see you here. Thanks for coming to support me on my Guardian webchat. I will definitely sing Cleopatra many, many more times. Beverley Sills was my age now when she first debuted Cleopatra, which was a major career splash for her, so my Cleopatra days are far from over, and I'm just unbelievably lucky that I got to debut it at such a young age - 26. There is much more growing I can do into the role as I mature, and I look forward to having the opportunity to do that. I hope that the massive impact of the McVicar production won't cast a shadow over any future productions. It was such a huge show, so I wouldn't be surprised that I did - there's certainly a part of me that goes: could I ever do a better Cleopatra than that show? But that I don't think is grounds for not doing it again.
Charisma is hugely important to a singer, though a singer who has only charisma CANNOT survive in this business. Charisma is a great bonus. Charisma is so useful when you're a performer because our life's work is storytelling, and communicating, so charisma gives you a wonderful authentic channel through which you can transmit all of that. I think people give the word charisma a bum rap actually – they sometimes attribute it to a superficiality. They might say: that person only gets that across because they've got charisma. Rather than substance. So the word charisma can get wrapped up in the wrong context and come across as merely external. I'm glad you think I have charisma, and I often get asked about where I get my charisma - the Times asked me yesterday! The answer I gave is that you don't see your charisma - if you have true charisma, you can't possibly answer that question. You don't create it, or portray it, or use it - if you have true natural charisma, it just emanates from you, there's no prescription for it.
2.00pm GMT
Bacon78 - you're missing a huge opportunity here!
1.57pm GMT
Louise Mullineaux asks:
What do you make of the term “diva”? You seem really down to earth – but is that a help or a hindrance in the opera world?
Diva often has a negative connotation. I do understand the negative connotations but I don't subscribe to them - I even named my fourth album Diva. For me "diva" means somebody who has a great charisma, aura, majesty, presence, energy. The nicest thing that someone ever said about me regarding the word diva was that a dresser of mine in Amsterdam, at the Netherlands Opera, a lovely lady called Christine, told my mother that I was a diva on the stage but not off the stage. Honestly, that's the nicest thing somebody could have said - it made my mother very proud. So I kind of embrace the word for its positive connotations, but my reputation in the business indicates that I don't portray the negative connotations.
1.55pm GMT
SA001 asks:
As you will know, Glyndebourne started up not just because of the efforts of John Christie, but also because of the input of his wife Audrey Mildmay, starring soprano of the Carl Rosa opera company! How does it feel to be following in this tradition? Does it affect the way you and your husband see your joint work at Glyndebourne?
We never thought of the tradition during our courtship, but yes, now that we're married, it is certainly a wonderful coincidence of history repeating itself. It is a wonderful thing to have such a deep connection to Glyndebourne - I already had a deep relationship with Glyndebourne the company, so now to be connected with them as a family member means I understand in a much more personal way what a labour of love this has been for the Christie family since Glyndebourne's inception. So their labour of love has become my labour of love and I already provided that level of labour with my stage performances at Glyndebourne - it's wonderful now to be able to offer another level of support on the personal side. Gus and I take that very seriously, it's a very beautiful mantle to assume.
1.51pm GMT
BeaG32 says:
Not a question, just wanted to say that I really enjoyed all your performances at the Met that I’ve seen. Opera saved me from suicide once, many years ago. I’m sure the opera industry can be tough at times—keep up the good work, you never know what difference you’re making in someone’s life!
Thanks so much for this lovely comment! You're right, the opera industry can be tough at times, but love of opera and the ability to connect with audiences, and also to connect audiences to music through performance always overcomes any difficulties that any artform will inevitably present. Please let me know if you come to another performance of mine and I'll organise it for you to come backstage.
1.50pm GMT
Flavione asks:
Ciao! As an Italian teaching Opera in Tokyo, I would like Italians to be more passionately in love with opera. How could that happen?
Sei sicuro che vuole dire italiani? perche immagino che gli italiani sono molto appassionati per l'opera, no? oppure, non e' la sua esperienza?
Hi Flavione. I'm very intrigued by your answer and looking at young Italians I wonder whether there could be a case for getting more opera singers out into the mainstream media, perhaps through some mainstream musical collaborations, to really put the operatic medium into a modern context. I would the opportunity to do that, especially speaking Italian - I would be able to speak on the subject in their native language. Actually, Mika the pop singer, is doing a show in Italy at the moment, and he asked me to come on an episode about opera - but I wasn't free sadly! I hope there'll be another opportunity. Much love to you and all the lovely Japanese opera lovers!
1.47pm GMT
Still waiting for the poster below to send me his work number so I can call him and sing Vide Cor Meum while he's bored at work!
1.46pm GMT
cornerswell asks:
Is it all classical music in your house - do you ever let rip with some soul or Motown?
Definitely soul and Motown, in addition to classical. I love folk music, dance music, Brazilian music, movie soundtracks (I'm a major sucker for movie soundtracks)... We do a lot of Spotify now. Last night we were listening to Grace Jones, and a bunch of 70s dance music, and I started singing a 70s version of What I Did For Love, to my son, who was completely transfixed. He was just transfixed watching my face deliver this emotional text alongside this 70s dance beat!
1.45pm GMT
severnsider61 asks:
Is there any chance of you performing in Handel’s opera Alcina at Glyndebourne in the near future? To see this wonderful work with its memorable soprano roles in an imaginative production - perhaps from David McVicar or Nicholas Hytner - would be a joy.
Gosh! Alcina would be wonderful! I have no idea whether that will be a possibility at Glyndebourne, as I'm responsible for artistic planning, but you are right, in a dream world, an Alcina with Sir David or Sir Nicholas would be stunning. Feel free to send your request on to Glyndebourne! Try @glyndebourne on Twitter...
1.44pm GMT
papersdeadboy asks:
Snog, marry, avoid... Elton John, Donald Trump, Dame Judi Dench.
Sir Elton: snog.
Donald Trump: (no possible comment is appropriate on this classical music webchat for our president elect)
Dame Judi Dench: snog and marry!
1.43pm GMT
yourcomment asks:
Do you have a favourite spoon?
I like spoons with a long handle. So that I can still stir my honey in my long mug, without burning my fingers! :-)
1.42pm GMT
vastariner asks:
I know nothing about classical music, so how does a conductor or musical director make a difference when it comes to scores which look to me to be pretty fixed? You can do a pop song in, say, a soul, reggae, electro or whatever style, but isn’t a piano concerto basically stuck as being a piano concerto? How is one maestro’s version better than – or even different to – another maestros?
Can I just applaud all of these amazing responses here! This is exactly what I would have said. It is true that human interpretation is what gives music its very original fingerprint, as it were, based on the artist performing it. Especially in the case of singers - there's so much nuance that one can bring to an interpretation that makes it all your own; makes it distinctively identifiable as well. In the case of maestros, very well heeled ears can even identify a maestro's interpretation on the radio. A conductor can play will phrasing, dynamics, tempo, silences, balance of instruments, and these variations can greatly affect what we hear in any piece of music. Often in listening to a different maestro's version of something, you can come away having heard colours in the music you never heard before. And this is especially magical if you know a piece of music well.
1.38pm GMT
Scrapper69 asks:
Do you think Scarlet off Gogglebox winning I’m a Celebrity Get Me Out of Here! over the hilarious Adam off Emmerdale was a fix?
I haven't actually got to watch Gogglebox but my stepsons love it - along with I'm A Celebrity. They actually think that I might do rather well on I'm A Celebrity - they think I'd be really funny on TV! I'm not sure I could eat bugs though. As a matter of fact, while we're doing this webchat here, like on Gogglebox there's someone else doing a webchat about us doing this webchat...
1.35pm GMT
fetedelopinion asks:
So, Danny, what first prompted you to set up home in an Elizabethan manor with en suite opera house set in the rolling downland backdrop to the summer idyll for thousands of opera lovers?
I love your question! Well... in a one word answer, I would have to say... LOVE!
Obviously the home was already set up... and the man living in it was already there.
1.31pm GMT
Slimeybastard asks:
When do we see you in a bikini on stage next?
I hope this question doesn't relate to your username! ;-) I had to wear a bikini in the Hermann's production of Julius Caesar in both Amsterdam and Brussels. I even had see-through pants, with a black triangle sewn onto my crotch using sequins and beads!!!!! It was pretty scary, actually, to have bare midriff, because you have to breathe to sing, so inevitably there will some picture of you with your stomach hanging out. Hahahahaha!
I also had to wear a leopard swimsuit when I performed the title role in Cavalli's La Calisto from my Munich Stadtsopera debut - the Times got hold of a picture of that which is pretty sexy, I guess! Women have very complicated relationships with their bodies, but when you're an actor, your body and your face are your canvas. So in the service of the character I can cast away my own aversions and insecurities to make sure the outer skin of the character matches the inner life of the persona.
1.27pm GMT
Do pop all the way down to the earlier comments because I'm still responding to the ones below!
1.26pm GMT
waronhypocrits asks:
Do you prefer tragic or comedic roles? DOI was at The Barber in the summer.
I honestly love both. I'm so glad you came to see the Barber, because the addition of the dramatic aria written for Josephine Fodor de Mainvielle gave me a very unusual opportunity to show a very dramatic and vulnerable side to Rosina's emotional palette in Barber, that isn't otherwise seen in this opera without this addition. Let me know what you thought of it when the DVD comes out this Christmas. I'm also premiering a documentary that's going to air on BBC4 that's going to air on December 18, called Birth of an Opera, which delves inside the process of building The Barber of Seville from scratch, through my personal narrative. I hope you enjoy watching it!
1.22pm GMT
poppyman asks:
Susanna or Fiordiligi? Which is the more demanding role?
I've not sung Fiordiligi yet. Susanna is certainly a longer role and EXTREMELY demanding. She never leaves the stage (well almost) and really one of the very difficult things is pacing the entire role so you still have your beautiful filo di voce for the wonderful Act IV deh vieni. Fiordiligi will be extremely challenging for its extreme highs and lows, of the vocal demands of the role, which was written for Adrianna Ferrarese del Bene, who was very proud of her high and low register. I can't wait to sing it soon!
1.20pm GMT
GoloMannFan asks:
Is the Jaffa Cake a cake or a biscuit?
I've never had a Jaffa cake, but I definitely think it's a cake. Texture is cake; shape is biscuit. Let's call it a biscake. Copyright Danielle de Niese, pending. :-) !!!!! Now I want a Jaffa cake!
1.17pm GMT
TheShiftyShadow asks:
Do you prefer building sandcastles or snowmen?
I would have said snowmen, but I just had a baby last year, and I've gotta say, I quite like sandcastles too. I hope it snows this winter so I can build a snowman with my little one. Happy holidays ShiftyShadow! PS which do you prefer?
1.16pm GMT
vammyp asks:
How do you interpret the finale of The Sopranos? I’ve had a theory for the last 9 years, but it’d be interesting to get an insider’s opinion.
I wish I had started watching the Sopranos when it first aired, because I would have become hooked early!!! As it happened, by the time it came for me to actually start watching it, there was too much of a backlog and I was too busy, so I'm sad to say that I've never really watched the Sopranos, bar two episodes probably. But do share your theory as I've heard a lot about the finale.
1.14pm GMT
JJRichardson says:
If opera disappeared of the face of the Earth tomorrow it wouldn’t be missed.
Are you sure? There are definitely quite a few of us here on Earth who would miss it. Send me your address and I'll send you something to listen to. Love Danni xxx
1.10pm GMT
Jumping around now to answer all the questions I can!
1.09pm GMT
Marcelo Jordan asks:
I admire your talent and your art. Thanks for enriching our life experience and the world with that. I come from Bolivia and would like to stage an opera on the street in my country of origin. Something for the common people, especially poor people, who would otherwise never have the opportunity to experience opera in their lives. Do you have any recommendations and also suggestions on resources or who/where to approach?
Hi Marcelo! It's wonderful to read your post and I truly admire your initiative, and dedication to the concept of bringing music to different audiences and venues. I feel terrible that I don't have any connections in Bolivia to help you! The closest place, with people I know - and I barely know them - is Bogota, and I don't think that would really help... I really believe in taking opera to different venues - I did one in a tube tunnel! And even in the 100 Club, the legendary rock club where the Stones played. Perhaps look into an arts council in Bolivia, ministry of culture perhaps? Or what about approaching one of the music conservatories in Bolivia? There you could find wonderful young artists who are looking for performance experience; perhaps you could collaborate to find possible funders. I hope this can help you in some way, and please get in contact to let me know any updates on your progress!
1.05pm GMT
Austerby says:
I do dislike that you can’t edit posts once made. Are there any particular roles that you are interested in?
Hi there - and me too, I hate that you can't edit posts! Roles: I am dying to sing Massenet's Manon. I've said it a zillion times, I have gotten some offers for it, and I keep waiting until it's the right moment vocally for me - I think it's just around the corner... I still need to gain a little bit of weight in my sound for the St Sulpice scene, that's my feeling anyway. However, my voice is growing so much that I feel it's a lot closer.
For now, my next biggest new role, which I am BEYOND excited about, is my first Donna Elvira in Don Giovanni, in Dresden!!!!!!!!!! I have been dying to do this role for so long. Dame Kiri Te Kanawa's version of Mi Tradi is my benchmark, so I've set the bar quite high! :-) If you feel like coming to Dresden... it would be lovely to see you. And then we won't have to edit posts.
1.03pm GMT
Bacon78 asks:
I love you singing Vide Cor Meum, would you give me call and blast it out for me, I’m very bored at work!
Give me your number!
1.01pm GMT
highfits asks:
Do you have a preference in performing opera/oratorio with a period instrument orchestra?
I have performed opera and oratorio with both modern and period instruments. Great period instrument musicians can bring a tremendous amount of modern (full-bodied) tone and timbre to a period instrument. And this I really love. Even with a period instrument 'band', I like groups that play with nice, full tone. And I've been lucky enough to work with incredible period orchestras that play with so much verve, and so much investment. I'm not so much a fan of that white, sterile sound. With the renaissance of Baroque music in the mainstream, some people may have, in the honour of performance practice, honour the historical practices. Now that we know what they are, and we know all the variation there was during that time, we're now free to bring our own personal taste to colour the sound.
12.59pm GMT
gormless2 asks:
The first opera I ever saw was Giulio Cesare in 2005 at Glyndebourne. (I was given some freebie tickets.) I had no idea what to expect but found it utterly breathtaking and intensely moving. Is there any chance that I’ll ever be able to afford to go to the opera in the future?
I sincerely hope that your financial situation will allow you to come to the opera again. There are many opportunities to get cheap tickets to the opera - some tickets at the recital I did at the Barbican went for £15. If you have any trouble, you can always get in contact with me through my management and we will try and help!
Thank you for your lovely words about Julius Caesar. It was a career milestone - a landmark experience in every way, not only for myself but for the whole artform. The use of choreography in this production certainly changed the way choreography was addressed in the classical world - the level of dramatic intensity both emotionally and physically that was invested in both the production process and the final product is something that has bonded our team together forever, in lifelong friendship, and we're all so moved that it has had such a lasting effect on audiences. It became one of those instant iconic shows, and we're honoured to be a part of it.
12.53pm GMT
Tzctguar asks:
Who are your opera heroes?
My major major idol as a child was Dame Kiri Te Kanawa, she's still my idol today, and I've been fortunate enough to study with her. She is an incredible singer and technician. You never know what to expect when you meet your idols, and of course you're in awe of them - so I was hugely nervous at first to make a mistake in front of her. And what was truly amazing was that she took me under her wing, and created for me a safe haven in which to make mistakes. We spent so much time singing just a few notes, over and over again, experimenting with air pressure, with consonants. The fact that somebody who is a hero to me allowed me to feel safe and vulnerable, which is actually the purpose of voice lessons (a voice lesson should be a place where you can experiment without the fear that your teacher is judging you, and your improvement). The fact that someone like her was able to provide me with this environment and teach me so much within it literally brought me to tears one day. It was quite embarrassing actually! But it was very moving for us both.
12.45pm GMT
j4cky0 asks:
Which is your favourite opera house - apart from Glyndebourne...) - and why? And which do you like least?
Love the Metropolitan Opera. I was Lindemann young artist there from 18 to 21, and returned there many many times to sing. It's my old stamping ground - it's where I grew up. Many of the crew members from when I was younger are still there and still rough me up a little bit when I show up to sing because they remember me when I was - literally - a kid! I also love the Garnier in Paris, I love the Teatro San Carlo di Napoli, Amsterdam, Covent Garden of course, Chicago, there are so many wonderful companies I've been fortunate enough to work with. Brussels! I could keep adding to this...
12.40pm GMT
highfits asks:
If you have a cold or sore throat is your performance called off or understudied?
In my entire career, I have only had to cancel one half of a performance, twice. And that's because I simply became too physically ill to continue - but I wanted to in spirit! And that's why I chose not to cancel. Both times they were ear infections that affected my inner ear. I can't stand the thought of cancelling. The worst thing is the more you become known in your career, the more pressure there is to be perfect, as you carry the burden of expectation, so the more likely it is that if you can't provide a 1000% perfect performance, you might have to cancel. I hope this never happens to me!
However, what I learn every day of my career and my technical studies, is that is exactly what technique is for. We rarely have 100% days, vocally - technique is there to supply you with a solid foundation of singing, so even on the bad days, you can sing as if you weren't sick. It's all about muscular training. For example, I often suffer from sinus infections, and I have a severe allergy to dust (even the allergists said they feel sorry for me working in the theatre!). But with proper technical tools I can use certain workarounds to physically warm up my voice around the problem. You work on your technique so that you don't have to think about it too much when you're actually performing.
12.33pm GMT
OleksandrOK asks:
There are many operatic pop solo singers and groups nowadays. What do you think about the future of the opera (performance art which combines music and drama)?
I can only speak for myself, but as an artist I really believe in cross pollination. I have been fortunate enough to do some really unorthodox and interesting and challenging and exciting musical collaborations with people outside the realm of classical music (from jazz bands to Snow Patrol to Mika to LL Cool J to ballet). And every single time, these musical collaborations have not only been rewarding and fun, obviously, but they've allowed a very different audience to see a classical singer holding their own in a different musical setting. For me, it's really important that classical music doesn't stay stuck in a glass box - like in the old days and you went to the music shop, and the classical section was always closed off in glass. It was because of sound, so you could listen to the CD and experience it, but classical music cannot stay like that, in my opinion. As you say, it's an artform that combines music with drama - so why not combine it with other artforms too?
With regards to operatic pop solo singers and groups, everybody's going to have their own opinion as to how they fit into the classical puzzle. But I think there's room for everybody. For me, anybody who gets somebody different interested in classical music, whatever that manifestation might be, is a good thing. I get asked all the time what I think about crossover singers, and I think the thing people don't realise about them is that crossover singers aren't saying that they're solely classical singers - they have their own musical contribution to make and that deserves its own place. It doesn't mean it would be my choice, but each of us is in charge of their own artistic destiny, so far be it for me to criticise somebody else.
12.28pm GMT
CarlBr0wn asks:
Me and my peers go to galleries, theatre, modern dance, even ballet – yet opera still seems just that little bit too inaccessible. The thought of people picnicking on the lawn at Glyndebourne is like a vision from a completely different society/country. Will opera ever become something for the general public, or do the people who enjoy it actually like keeping it a rarefied art form? Would it lose something by being more democratic?
This is a huge question! And a very important one. And I could probably spend the remaining webchat just answering this. This art is absolutely for everyone. Classical music was, in the past, extremely democratic and definitely for the masses. Speaking of Glyndebourne, you should come down to have the whole experience of going to the opera as well as picnicking on the lawn. It's picnicking, and it's a lawn - if you take these two elements separately, they're pretty commonplace, and don't really speak to anything separatist or "for rich people only". It's actually quite a humbling experience to picnic on the lawn, because you're unbelieveably close to nature - you're in nature! The only thing that is different is that you might be a bit dressed up, because Glyndebourne encourages their audiences to dress up nicely for the event. After all, we artists go to the theatre and dress up in our costumes, makeup, hair... for the public. Yes, tickets have a price. There are all different ranges of price, but you can find the same range of prices or perhaps even more, to see Madonna or Coldplay at the O2. I think people fear the opera is inaccessible because they haven't been or because it's an experience they haven't had, so you can sort of build up a fear of something you don't know.
But opera audiences are actually rather loving, and very giving and open people. They love to meet a neighbour in the theatre for whom it's the first time and they share the experience together, it's not as scary a place as people might fear. The people in the world of classical music do not want it to be seen as a rarefied artform. Don't get me wrong - it takes a certain amount of time, training, dedication, to become a great artist in the classical world, but you do not need any degree or training or opera education to be able to enjoy classical music. You just need to have an open heart. Thank you for asking this question!
12.22pm GMT
Gabi Stranska asks:
I have been fortunate this year to see you perform (Glyndebourne, Strasbourg, London, now have tickets for yet another sold-out event in Birmingham, btw. Congratulations on the sellouts, amazing) but my question is on behalf of the less fortunate: any plans for a new CD? Would be really cool... Good luck with all you do, the world is a better place because of role models like you!
Thank you so much! And thankyou for supporting me in all my performances. You are totally right: not everyone is as fortunate as myself to have had an exclusive recording contract. And having a chance to make albums is a tremendous responsibility but it's also a gift because you have the opportunity to spread your music to even the most far flung places, and even now with digital platforms you have even more opportunity for people to listen to your music, even for free. My website has lots of samples and even complete tracks of my music, for people to enjoy. And I definitely have plans to make more albums in the future. The past five years I have definitely been making releasable material, it's just all been via DVD of operatic performances. Which I think has been wise, while the templates of how we buy music in the digital age are changing - I haven't rushed to make CDs, because they're almost not being manufactured any more. I definitely want to take more risks with my new album formats, and combine mediums - perhaps even stage one-woman shows. It's important to push the envelope there, because formats and the way we experience music is changing so much.
12.20pm GMT
RiggerTony asks:
After the birth of your son, you said your voice changed. Do you think this may allow you to tackle some mezzo roles in the future, for example Carmen. I think I might actually kill to see that!
Actually, amazingly, Carmen is one of my most frequently requested roles. I can't tell you how many times I run into people who ask me: when are you going to sing Carmen? The truth is I would love to sing Carmen one day. My voice has definitely changed - it's become richer, deeper, and I have a physical sensation of my mask and face feeling wider (even though that's not physiologically possible, that my face got wider!) but that's how it feels. I have always had a good middle chest range, so it is entirely possible that in the future if the circumstances are right, and the theatre is intimate enough, that I would definitely do Carmen. But, for now, I'm really excited about doing Michaela!!!!
12.17pm GMT
Quiet Loud asks:
Your amazing success in winning an Emmy Award at the age of 16 is really well-publicised. But there seems to be no official record of you ever winning one … what’s the story there?
I won an Emmy when I was 16 as host for a television show called LA Kids, and because it's a news show, it was broadcast in the LA area Emmy awards, as part of the broadcasting section of Emmys. There's a picture of me with my Emmy on my website, danielledeniese.com, under my bio page.
12.16pm GMT
12.15pm GMT
HEY EVERYONE!!! So happy to be here, with the Guardian, for my first ever webchat! I can see there's already loads of questions but keep firing away and I promise I'll answer each one... Love Danni xxxxxx
4.17pm GMT
After a whirlwind early start in LA, winning an Emmy for TV presenting while still in her teens, the soprano Danielle de Niese has brought vigour and freshness to the global opera scene.
At the age of 19, she was already singing alongside Bryn Terfel and Cecilia Bartoli at New York’s Met Opera. Productions at Glyndebourne led to her meeting her husband, the opera house’s director Gus Christie, and she now lives in the Sussex country house, where she recently performed in The Barber of Seville.
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