International Women’s Day: Soprano And Classical-Crossover Artist Cheryl Bains Discusses Her Upcoming Opera On Indian Goddesses

On the eve of International Women’s Day, Cheryl Bains an operatically trained Soprano and a classical-crossover artist, brings forth ‘The Legend of the Goddess: Where Vedic Tales Meet Opera’, an innovative opera production that explores various facets of femininity through female deities, composed specially for the stage.

The ensemble consisting of Violinists Zubin Behram-Kamdin, Daniel Dias, Violist Dielle Braganza, Cellist Leo Velho, Pianist Nadine Crasto, and Percussionist and Drummer Gino Banks, traverse through the soaring melodies of Western Classical Music and cyclical rhythms of Hindustani Classical Music, invoking the tales of power, love, and generosity.

Inspired by Om Swami’s book of the same name, the premiere of this work to be held on Saturday (March 7) at the Royal Opera House and brought to you by Avid Learning, will see towering figures from Vedic Mythology from Goddess Durga to Goddess Ganga come to life to depict the shared human experiences of women from time immemorial. 

Cheryl Bains is a graduate of the Manhattan School of Music, New York, and travels between the U.S, India and Singapore. She has appeared in numerous recitals, has collaborated with world-renowned artists and coaches and has featured as a soloist in various Choir and Chamber Orchestras, and musicals.

In an interview with The Free Press Journal, Cheryl Bains talks about her connection to music, life as an opera singer and upcoming Opera in Mumbai.

Excerpts from the interview:

How did the concept for ‘The Legend of the Goddess: Where Vedic Tales Meet Opera’ came about?

I would say the subject of writing about The Divine Feminine chose me rather than the other way around. It is my privilege to re-tell Her stories as they strike me. The musical concept is a synthesis of my backgrounds in Western and Hindustani classical music. I’ve married these disciplines to transport the audience to the worlds where I feel Her stories reverberate, and to regale those who come to listen in a way that is authentically me. 

In this operatic production, how do you plan on bringing out the idea of women’s divinity?

I felt drawn to explore legends surrounding four different avatars: Ganga, Durga, Parvati and Lakshmi, and so like a Symphony, the work is shaped in four corresponding movements. I hope to cast a light on the heart of these Goddesses, with the human emotions they can and did feel, and therefore remind audiences of the grace, strength and divinity all women possess. 

What made you want to do a production of this magnitude along with a galaxy of the who’s who in the music world?

I recognize that there are legendary masters of music in Mumbai and I’m fortunate to be working with a couple of them on this project. People like Gino Banks and Nadine Jo Crasto and a few others. I felt in love with and welcomed by the Royal Opera House, (where my singing broke a light bulb). Hence, my premiere had to be here.

How long did this production take to get off the ground, from concept to final production? Are there any specific costumes you would be wearing in the production and also any special makeup?

Leonard Bernstein once said “To achieve great things, two things are needed; a plan, and not quite enough time.” I don’t mean to praise myself, but to say that the timeline on this project was certainly quick. The process of writing, rehearsing and producing has come together in about 9 months. As for costumes and makeup, yes, I will have three costume changes for Movements 1, 2, 3, 4.

Going back in time, tell us about your first connection to music?

I was five-years-old when someone asked me for the first time what I wanted to be when I grew up. My answer was “a singer”. I don’t know exactly where this wish came from, but I am extremely fortunate to say that my answer has never changed, and this is only possible with the unconditional dedication and support my parents have given me.

How did opera singing and classical music enter into your musical journey and influence you to take up the career that would make you famous?

As for Classical music, it was a beautiful moment of awakening for me. At the age of 10, as a rather inexperienced member of the newly formed Mozart Children’s Choir of India, I found myself engaging with this music for the first time. I distinctly remember a concert centered around Giovanni Battista Pergolesi’s Stabat Mater, which is a stunning and heavy baroque Oratorio. Given the serious nature of this piece, it’s interesting that this was the work that awakened me, but nothing was the same for me after this concert. I fell deeply in love.

You grew up in Singapore and that gave you a lot of exposure to traditional Malaysian and Chinese music. Did you do any music while you were there and has that helped you in your operatic career?

To me, Singapore is a physical and musical landscape that has a strong imprint on my heart. My education was driven by my former teacher, Khor Ai Ming, a Malaysian-Chinese contemporary classical soprano, who taught me the art of Chinese Art Song. As a young artist, I was very involved with her performing company, and received invaluable exposure and opportunities to perform traditional and contemporary Chinese and Malaysian music even with the Singapore Chinese Orchestra. As an artist, I learned a lot about grace and subtlety in performing this music, but I realise now that I was looking through a kaleidoscope whose colors would become incredibly dear, and an integral part of my identity as a composer.

Who are the Indian classical music artists you have worked with and share some of the works you have done with a few of them?

I had the pleasure of collaborating on an album with composer-violinist Ravi Pawar last year, and have some interesting projects in the pipeline with two very well known artists this year.

How does a classical artist maintain relevance and do you think this production is a stepping stone to create something unique?

As a storyteller, I always feel the message of art is more important than the discipline chosen. I feel the elegance of Classical music allows me to convey my emotions and tell stories in an honest way, and I know I often perform to mixed audiences. But, the beauty of this form is that it is timeless, and simply needs a little introduction today to remain relevant. Historically, opera is rarely in English, and I’m accustomed to singing in about 12 languages. But, I felt this work needed to be in English to allow me to share these timeless Indian stories and the joy of Classical music the way I feel it, with audiences both local and international. 

You have been mentored by composer and Orchestrator, Ladd McIntosh. How is it working with such a veteran in the music industry?

It is truly a privilege for me, as a young composer. Ladd truly has a keen and unforgiving ear, so having his belief in me as my Guru has meant the world to me. 

What are some future projects that you are working on?

I am working on a tour of “The Legend of the Goddess” for Autumn 2025, as well as writing a new project, which I hope will premiere soon.

Women’s Day is around the corner. Do you think women are well represented in our country when it comes to music?

India has a profound respect for mastery, and I choose to believe it’s irrespective of gender. But, historically, we must acknowledge that women have been unsung in many aspects of music, like composing for example. So, we have upwards to go.

Gino Banks on the Opera

“I have performed with the Bombay Chamber Orchestra, the British Orchestra with the legend Ilaiyaraaja and have recorded a few background scores for films in the past. So western classical music is not unfamiliar territory for me. My goal is to serve the music and bring the composer’s vision to life while also adding my personality to the rhythms. My main challenge would be to reproduce the appropriate soundscape for the pieces. The music is well composed and arranged by Cheryl, so I am looking forward to it.”