“If you have the opportunity to join the Choir, take it with both hands”
“Even nearly 20 years after matriculation and more than a decade into a successful operatic career, I can look back on my time singing in Clare Choir as the most richly varied, musically challenging and developmentally important three years of my life.
I remember the first rehearsal I had in October 1992. The volume, precision and intensity of the opening few bars of the anthem we were rehearsing was like nothing I had ever experienced and it literally took my breath away. I was unable to sing, until I looked around and saw that for my colleagues this was all perfectly normal so I thought I had better just get on with it.
To be surrounded by fellow students from all musical backgrounds, brought together by a passion for choral singing, was a new and thrilling experience for me. Once I got to know them better I realized that, although some had done Eton Choral Courses, been choristers in cathedral choirs or had sung in the National Youth Choir, there were many who, like me, had simply had a broad musical education, could sightread reasonably competently, had a promising voice and an outgoing personality. That, for me, was the essence of Clare Choir – the unique variety of students who made up its ranks, who come together to make music of the very highest quality on a daily basis during term time.
As a professional singer I am often complimented on the quality of my sung diction. I learnt that in Clare. I am regularly required to learn pieces at short notice, or revise previous roles and take over from indisposed colleagues. I learnt that musical discipline in Clare Choir too. I am lucky enough to sing in some of the most wonderful concert halls and work with fantastic professional orchestras – and that all started in Clare too.
I have been fortunate enough to work with the Choir on several occasions since graduation and can confirm that the qualities that made it such a special place for me to start my singing career not only remain but have been developed still further. The Choir is bigger now, has a richer, ‘punchier’ sound, takes on ever-more ambitious repertoire and its reputation (rightly) goes from strength to strength, not just within the University but internationally too. I can suggest that if you have the opportunity to join its ranks, then take it with both hands.”
Born in Lincoln, England, the bass-baritone Simon Bailey read music at Clare College, Cambridge University, where he was a Choral Scholar. In 1997 he commenced postgraduate study at the Royal Northern College of Music, where he was taught by Neil Howlett.
July 1999 saw his London debut, in the role of Figaro for Opera Holland Park alongside future wife Anna Ryberg as Susanna. A series of outstanding performances saw them both awarded the OHP/ American Express awards for that season’s festival.
At the 1999 Rossini Opera Festival Academy in Pesaro, Italy, he was heard by a ‘talent scout’ from the La Scala opera studio, the prestigious Accademia del Teatro alla Scala. This led to an audition in Milan and a two-year contract in the studio, beginning in January 2000.
July 2002 brought a new challenge both professionally and culturally with a move to Frankfurt am Main, Germany, as house bass-baritone at the Oper Frankfurt. Initial success as Papageno (Die Zauberflöte) and Dulcamara (L’elisir d’amore) has led to performances in other repertoire, such as Schakloviti (Khovanschchina) and Klingsor (Parsifal) in the 2005-06 season.
As well as frequent broadcasts on German radio, Simon has recorded for Opera Rara, Chandos and Naxos – most recently on the critically-acclaimed release of Stainer’s Crucifixion.
In 2008 Simon became the first British singer to sing the title role of Le nozze di Figaro at La Scala since Bryn Terfel.
