Natural high
Xiao Ma, the man on a high.
Is there a history of music for the countertenor voice in China? There is a long history of male actors singing female roles in traditional Chinese opera, but Chinese opera has totally different techniques and voice qualities. Countertenor singing in the Western tradition is relatively new in China. I’m seen as different because I’m trained in the Western tradition, and I sing both Western opera and Chinese music, and new music composed for the countertenor voice.
What reaction to you get from Chinese people to your singing? The voice is so high, so people are surprised it’s a guy singing it. But then they love it. When I performed in the States, people had the same reaction. Countertenors are not something you hear very often, no matter where you are.
Do you come from a musical family? I grew up in Chengdu, a city in the south-western part of China. My father was a judge, and my mother is a doctor. But my mum loves music and she has a beautiful singing voice. When I was three, my mum noticed I was playing the tunes I heard on TV on my little toy piano. She sent me to music teachers and I loved it. I used to travel 30 kilometres on my bicycle just to have a music lesson.
What was your early musical experiene? I joined a choir when I was four. We sang hymns, but I didn’t know they were hymns back then. I also learned the piano. Opera came later. I heard my first opera on the radio when I was 14. It was Caballé singing Madam Butterfly. I recorded it on tape and played it over and over again. Then I heard Maria Callas. She is my idol. I didn’t like other subjects at school. It was all music. Luckily I went to a high school that specialised in music. I practiced eight hours a day and did many shows and competitions. I became a teacher and I’ve been teaching music ever since.
How did you discover your vocal range, and what training did you do? I trained as a tenor but I always liked soprano voices and I used to imitate them. In 1994 I was in a show where I performed a duet with a soprano. That was the first time I seriously thought I could sing soprano, but that’s because I didn’t know what a countertenor was! Ten years later I met my teacher Dongjian Gong, a bass baritone trained at Indiana University, and I began lessons for countertenor.
You also sing traditional Chinese music and pop, in which genre do you feel most comfortable? I like them all. Opera training is about pushing the boundaries and looking for new possibilities. Once you have the technique you can apply it to whatever genre you like.
There are a rising number of Asian people reaching the top of the classical and opera worlds, why do you think this is? I don’t think that’s very strange. Music has no national barriers. Western music appeals to me in the same way it appeals to another person. There are more Asian people excelling in Western music now. It would be nice to see more Western people becoming good at playing Asian music. It’ll happen.
What are your ambitions for the future? My ambition is to sing in 50 different countries by the time I’m 50. Maybe that’s not very ambitious. I don’t exactly set my goal on performing in the Metropolitan. That’s beyond my control. I just want to be good at what I do, and be a bridge between cultures. I want to create something new with my voice.
What are you are doing in New Zealand. Wellington composer Jack Body met me in China and said I should come here. I’m currently an artist-in-residence at the Confucius Institute at Victoria University. I’m based in Wellington for two months, but also touring other places in New Zealand. I’m really enjoying it because I get to collaborate with really good Kiwi musicians. It’s a very special country. Very inspiring. I think it’s an ideal country for artists because it’s quiet, and it makes you think. Right now I’m learning Maori songs for my Te Papa recital. It’s beautiful.
Xiao Ma in concert, St Mary of the Angels, February 15 and Sounding Theatre, Te Papa, February 18
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