“She worked full time through my whole childhood and I never felt she was gone because the quality of time she spent with me was so amazing,” she tells me. “I don’t have any memories of her not being around. I want to be like her. I don’t want to be that singer who’s like: ‘Darling, Mummy’s got to sing now. Someone else, do their homework with them.’ It’s not a mentality that I can relate to.”
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De Niese spoke to medics to make sure that performing would not put her at additional risk, and she was reassured by the Royal Opera House that “they had contingency plans in place” if she needed to pull out of the performance at any time.
Every working parent attempts the balance between parenthood and career. For de Niese, I sense she’s got a few more balls in the air. “It’s a big juggle, but I also find, as a woman and as a mum, there are times when the amount you can manage makes you feel slightly superhuman.
When she’s travelling for work, her family – husband Gus Christie and children Bacchus, 10 and Sheherazade, age four – either come along and watch from the wings, as they have for the past month while she’s been performing Carmen in Sydney. Or, as happened before school broke up, she choreographs cricket lifts and games of football for Bacchus while she’s away and he’s home with Gus.
Danielle de Niese’s family often join her on tour and watch from the wings as she performs (Photo: Don Arnold/WireImage)
She believes her demeanour also helps. “I’m not a person who, when I feel under the cosh, starts popping like popcorn or snaps at people.” She is also very in love with her husband. “I’m good at airing any grievances or problems,” she says. “And Gus is wonderful at rising to those occasions. If we have anything to work out, we do. Our biggest challenge is having the chance to sit down with diaries.
While de Niese might be down to earth, their beautiful home is anything but. For the public, its 12-acre grounds are home of the summer opera festival. The children are surrounded by creative performers. Glyndebourne employs 150 full-time staff but ten times that number of people work there across the year, whether as visiting artists or seasonal staff to help host the festival. Here, public and private life overlap.
“If things escalate, I’ll be found in front of people saying: ‘Let’s think about how we talk.’ But I probably would say that anyway. As a singer, I’m less likely to shout. So I’ll clap and sort of go ‘right, right, right’. I can raise my voice, but I prefer not to do that. If they’re misbehaving at a party or something, I’ll say: ‘Come with Mama, we’re going into the playroom’, and we go into our private part [of the home], and then I would say, ‘We can’t behave like that’, or, ‘We don’t do that there’. But at the same time, I really would hate it if they felt like when we step out of our private areas, we’re in a show.”
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“[The children] have probably adapted a bit and learned, ‘Okay, we need to be nice if mummy and daddy are talking to somebody’. If we say: ‘Say hi,’ they’ll go ‘hello’, and be very well behaved. They never say: ‘No, I don’t want to’, so I’d like to think we’ve done a good job with that,” says de Niese.
“The night I gave birth to Bacchus, at 3.30 in the morning, I was heading to hospital, and when I was keeled over in the front hall, I ran into a wonderful pianist I’ve worked with, who was getting a cup of tea in the middle of the night. And he was like: ‘How are you?’ And I replied: ‘It’s happening right now.’”
Danielle de Niese is filming for Sky Arts this summer before returning to Melbourne in the role of Carmen for Opera Australia
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