Matthew White: A versatile countertenor by Hélène Boucher
/ September 1, 2011
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Canadian countertenor Matthew White
is not yet 40 but has already had a full career. The singer sees his
vocal art as work and discipline—a worthy mantra inspired by the 17th-
and 18th-century castratos.
FROM OTTAWA TO MONTREAL
White was born in Ottawa in the early 1970s. His love for singing began
there in the Canadian capital. Though his family was not involved in
the arts, young Matthew was interested in music from childhood. At age
eight, he became part of St. Matthew’s Men & Boys’ Choir at
his own request. “I was a very active boy who needed strict discipline,
and the choir gave me that structure,” he says. The singer has thus
far held fast to this philosophy of discipline.
White studied voice in Montreal at
McGill University. He also did complementary studies, a hybrid program
of one year of music and three years of English literature. “At the
time, I hadn’t yet made the decision to be a singer. My goal was to
move forward professionally with my singing, but I wasn’t really interested
in specializing in a structured program,” he recalls. His talent brought
him to the stage while he was finishing his bachelor’s degree in English
literature. Work increased and, although the pay was bad, the situation
was ideal for a young university student—“better than being a waiter,”
White notes. At the time, he was frequently asked to sing alto parts—a
skill he developed despite the physiological complexity required. During
this period, he met Daniel Taylor, who was on a similar career path.
Canadian Countertenor
The transition from alto to countertenor was a pivotal moment for
White. He speaks passionately about his relationship with the voice
that has made his reputation. Being a countertenor evokes unique emotions;
with this timbre (despite its limitations), White lives a paradox between
the feminine and the masculine. “I like the male-female combination
that the countertenor voice provides me, with its purity, its clarity
and its luster—its unique characteristics,” says the artist.
Early music has always fascinated
him and, for obvious reasons, he is deeply immersed in it. “This repertoire
brings out the best qualities of my voice.” It is difficult for White
to choose a favourite role or character. Each one presents a challenge;
he must separate from his own identity and enter into the personality
of another. The artist speaks about “construction,” a term that
says a lot about the discipline he has maintained since the start.
“I need to feel that I am taking
on a new challenge with my singing and bringing a bit of beauty to the
world,” explains the countertenor. White has been a part of numerous
ensembles and has performed the role of Ottone in Monteverdi’s
L'incoronazione di Poppea at the Houston Grand Opera and the Toronto
Consort. He is most fascinated by Bach’s works. White considers that,
beyond being a genius, Bach is a composer whose works represent the
highest level of artistic achievement. His admiration is seemingly endless
and his passion for this music so strong that he could imagine singing
only Bach.
Performing in Europe, the United
States and Canada, White has rubbed shoulders with many talented artists.
It would be difficult to name them all, but the artist emphasizes his
deep respect for the perfect technique and expression of David Daniels
and Lawrence Zazzo. He also admires Gerard Lesne’s incomparable ability
to move from one register to another.
From centre to back stage
His young career is already punctuated with success, but White has
no intention of stopping there. Driven by his desire to achieve, he
has accomplished other things besides a career as a soloist. In 1999,
he and several other artists founded the ensemble Les Voix Baroques,
which specializes in Baroque and Renaissance repertoire. He is currently
the ensemble’s music director and deals mainly with inviting talented
soloists to perform.
This fall, a new challenge awaits
White: he is the new Executive Director for Pacific MusicWorks in Seattle—a
company centered on 17th and 18th century music
but also on more contemporary initiatives (new music). He is approaching
this new adventure enthusiastically: “Even though my main focus is
definitely early music, I am delighted with the idea of opening myself
up to new perspectives and new artists. My role will be primarily administrative,
but I also plan to maintain an active role in Les Voix Baroques and
continue on my path as a soloist,” says White. Ideally, he would like
to sing for three or four months of the year and spend the rest of the
time on his new administrative role.
White is keeping an eye on the next
generation, the emerging new talent. He advises young people to clearly
set out their objectives, be true to themselves, and be honest about
the most realistic way to achieve their goals. “Every artist has to
look at art as a profession, constant work. The key to success lies
in knowing yourself”—words of wisdom from a a singer who continues
to devote himself to his art.
Translation: Aleshia Jensen
Matthew White in concert:
» With Tafelmusik Baroque Orchestra in Toronto, October 14, 15, 16,
19 and 20, various times. tafelmusik.org
» With Les Voix Baroques, October 29 in Victoria, BC earlymusicsocietyoftheislands.ca,
lesvoixbaroques.ca
» In Handel’s Messiah with the Calgary Philharmonic Orchestra,
December 9 and 10 cpo-live.com
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