A soloist and teacher who was already singing with an adult choir at the age of 15, Tanisha Herbert Rozario is the co-founder of VioVoi Music Academy in Bengaluru and holds the distinction of being an NVM-certified (Neuro-Vocal Method) singing teacher. Over the years, Rozario has come to respect that singing has very little to do with raw talent and more to do with the mind-body-spirit connection. It is interesting to note that she has pursued a degree in hotel management, a master’s in human resources and worked at a corporate multinational Tanisha Herbert Rozario company all the while completing her singing exams, music teaching and performance diplomas, participating in masterclasses, performing in concerts and eventually teaching singing. The path to pursuing a career as an operatic singer in India is certainly not an easy one and she looks forward to travelling to Mumbai to attend the final round of the competition that has shaped the careers of many the world over. 

“When Canadian-Italian mezzo-soprano Emily D’Angelo won the first place at Operalia 2018, it was a pivotal point of personal inspiration for me. After 16 years of back to-back sopranos, tenors and one bass-baritone winning the First Prize, it was exciting and reassuring to see a mezzo-soprano being rewarded. D’Angelo’s rendition of Händel’s ‘Doppo notte’ from her final round at the competition is one of my favourites to this day,” Rozario recalls. She counts tenor Joseph Calleja among her favourite opera singers, who she soon discovered was the Operalia 1999 winner, when she found a video of him singing ‘Tombe degli avi miei’ from Lucia di Lammermoor for the final round. “I’ve since been watching Operalia every year and following the career paths of many of the winners. It feels surreal to know that the NCPA will be hosting the 2024 edition. To observe world-class talent in their element while sitting a few feet away and watch Plácido Domingo in the flesh as he conducts the SOI is going to be a special event. I also know there is an audience award for which I hope to vote for my favourite singer,” adds Rozario.

Hosting Operalia in India, she believes, will be reason enough for the country to take notice that “we are infrastructurally, logistically and culturally being recognised by the rest of the world as a reliable anchor for Western classical music. The Operalia competition brings with it a jury comprising a number of international opera managers and casting directors. Operalia 2024 at the NCPA may encourage them to choose to stage their next opera here and will plant the seed of inspiration in singers across the country.”

Frazan Adil Kotwal, baritone

A priest and renowned baritone, Frazan Adil Kotwal likens singing to prayer. As a child attending a Parsi school in Pune, he was encouraged to pursue music, and eventually chose to learn the violin. Later, upon returning to Mumbai, his birthplace, to pursue a bachelor’s degree in mass media, he continued his violin education with Gini Dinshaw. Then, while studying at the Goethe-Institut in Pune and Mumbai, he went on to form the Musikkreis group that discussed and sung German Lieder every week. At the age of 24, his passion for opera led him to Stuttgart, where he continued to train and pursue a career as an opera singer. Today, the Stuttgart-based baritone earns a living solely through concerts and remains grateful for the support he received singing in various countries and continents.

As a firm believer in the importance of giving back to the community, Kotwal has taken the joy of music to children’s hospices, jails, shelters, while homeless introducing young minds to various forms of Western classical music.

Kotwal has followed Operalia for a long time. “Some of my friends and mentors have even won the competition, making it particularly meaningful for me. Witnessing their journeys and learning from their experiences has been incredibly inspiring and educational,” he says. When he learnt that Operalia was coming to India, he says, “At first, I was stumped. I think it’s incredible, exciting and will truly be a game changer. This prestigious competition will shine a spotlight on the world’s most talented young singers and showcase the highest standards of musicianship. It means a great deal to me because it offers audiences the chance to experience fresh, young talent firsthand, enriching the cultural landscape and inspiring the next generation of musicians.”

Kotwal also believes that the Indian audience will realise that opera is far from a dying art form. “With so many people from around the world passionately pursuing this art, it will offer Indian audiences a fresh perspective and deeper appreciation for opera’s vibrant and enduring appeal. I didn’t have the opportunity to start at a young age, and I don’t believe Operalia alone can pave the way for our homegrown talent. What our talent truly needs are opportunities to perform in India.”

Kotwal recognises the fact that opera is a Western art form, and every singer who graces the stage at Operalia has undergone at least a decade of rigorous training, supported by their respective institutions. But he speaks from experience when he says, “Let’s not forget the extraordinary journey of Indian singers who have ventured abroad and carved out their place. It’s a journey marked by unwavering resolve. I implore you, dear reader, to rally behind the Indian talent out there who are toiling day in and day out. They not only face the challenges inherent in this demanding career but must also navigate through the murky waters of racism and criticism in the relentless pursuit of excellence. To support them is to acknowledge the monumental effort they put forth—ten times the effort, often against all odds.”

Farah Ghadiali, soprano

Mumbai-based soprano and vocal trainer Farah Ghadiali, founder of the Salon Concerts series for Indian musicians of international calibre, will also be attending the final round of Operalia. She has performed as a soloist with the Bombay Chamber Orchestra, Con Brio festival and Stuti Choral Ensemble, Goa. She also runs a successful teaching practice in Mumbai to promote use of the right classical technique of voice production for a healthy voice. 

As a child, Ghadiali displayed a keen interest in music, particularly singing. While studying for her master’s in management, she performed with the Stop-Gaps Choral Academy before moving on to study with Minaish Doctor and Patricia Rozario. She was awarded the Kathleen Roberts Vocal scholarship and the Trinity College of Music scholarship to complete her master’s at Trinity Laban Conservatoire of Music and Dance, Greenwich. Along the way, in 2014, she worked in the NCPA’s events department and sang as a chorister in large scale productions like the twin opera production of I Pagliacci and Cavalleria Rusticana. She has studied at the Mozarteum Internationale Sommer Akademie in Salzburg, Austria, and later in Italy, and has performed across Italy as part of the piano-voice Duo Farinaldi with Steinway artiste Paolo Rinaldi. 

Ghadiali heard about Operalia coming to India from one of the competition pianists/répétiteurs. “I didn’t think our city would get such a fantastic opportunity to host the foremost opera competition in the world. I was overjoyed. I’ve made sure to be in Mumbai during the competition since it will be an immense learning opportunity to witness this. I think anyone who loves to hear great singing should be there since this is an amazing opportunity to witness a competition of this magnitude,” she says.

She hopes the competition can pave the way for more operas in India and looks forward to having more Indian singers and musicians of international calibre performing in the country. “Operas are very expensive projects and support from the corporate sector in this regard would be helpful,” Ghadiali points out.

She believes that the young need to be exposed to all kinds of music. “There will be a number of children who may not be interested in classical music, but there will also be some who may be fascinated and fall in love with the sound, drama and effect of an opera or a performance and who will want to explore this art form.”

Patricia Rozario, soprano

Mumbai-born soprano Patricia Rozario, who was awarded the Order of the British Empire (OBE) in 2001 and Pravasi Bharatiya Samman in 2013, has performed on some of the most prestigious stages across Europe. Aside from appearing in The Marriage of Figaro conducted by Sir Georg Solti, she has performed in a production of Elvis Costello’s Meltdown. Rozario studied at the Guildhall School of Music & Drama, London, and is currently a professor at the Royal College of Music, where she is a member of the vocal faculty. In 2017, the renowned soprano directed and staged India’s first full f ledged opera production of Il Matrimonio Segreto at the Royal Opera House, Mumbai.

Rozario, who was thrilled to hear the news of Operalia in India, says, “The NCPA in Mumbai has been the place for music-making. They strive to raise the standards in the country. Our audiences and musicians will have a chance to hear the high levels of performance that exist all over the world.” 

Since 2009, Rozario and her husband, pianist Mark Troop have conducted a series of masterclasses as part of their Giving Voice to India (GVI) foundation to raise the standard of Western classical singing of both art song and opera in cities like Mumbai, Delhi, Panjim and Pune. Offered at subsidised rates to ensure accessibility, the f ive-day courses have been beneficial to hundreds of young Indian singers to date. “There’s a growing number of young, talented singers who want to develop their voices and are keen on opera singing. At first, I found young students were taking music as a subject to be able to get into universities abroad where you needed to show extracurricular activities besides a good score in your specific subject. Gradually, there were a few who took it seriously and went further with their musical studies, entering conservatories for their master’s and even doing opera courses. While only a few are training to be performers, there is a greater awareness of opera today and we are developing the audiences of the future,” says Rozario.

She also notes that there are several choirs in India and a lot of people enjoy singing in choirs in their spare time. “I would say the standard of choral singing has improved a great deal. However, opera is a more soloistic form and demands greater development of vocal soloists. As a result, local productions of opera are infrequent and not of the requisite quality. The NCPA brings down whole productions from abroad with foreign artistes and the level is much higher. GVI has helped quite a few young Indians study abroad and we look forward to a time when they can come back to India to perform in a production.”