Julia Hill has a real sense of style and the Hamilton soprano and Waikato music student is a striking centerpiece in NBR New Zealand Opera’s line-up of its recent award-winners.

When she talks, she doesn’t sound quite Kiwi; although her parents are Morrinsville folks, she was born and spent most of her 23 years in Canada.

It was in Canada that she started studying violin at 3. “When I look back at photos, it was pretty cute,” Hill remembers, with a light laugh, “Cardboard box and elastic bands for strings!”

This was followed by piano and “then, of all things, I learned to play the ukulele.”

I’m bowled over by this revelation although the soprano reassures me.

“Ukulele is what has given me the greatest performing opportunities, touring national and internationally as well as recording seven CDs with the Langley Ukulele Ensemble.”

New Zealand was not forgotten during those Canadian years and she returned to us in 2003, to be with her partner Phil and study music at the University of Waikato.

“I love living here,” Hill enthuses. “ I’ve always felt a deep connection with the country so it just feels right to be back here now.”

It may seem strange that a singer who has just received a PriceWaterhouse Coopers Dame Malvina Major Emerging Artist Award for 2007/8, didn’t make a full commitment to singing until her third year at University.

“I’d had a bit of success in competitions and such,” Hill remembers, “and, believe it or, played Audrey  in our high school’s production of Little Shop of Horrors, but it was just something I did.

“I’ve always been rather cynical about the likelihood of having a career; I think I was a little afraid to set my sights too high.  Now I realize that the passion outweighs the risks as it were and I feel it’s something I have to do.

Opera, in fact had made a vivid impact on her as a child when she was taken to the Queen Elizabeth Theatre in Vancouver and caught Harold Prince’s production of Madama Butterfly. “I remember when Cio-Cio-San kills herself at the end and an enormous piece of red silk spilt onto the stage; it was just incredible.  I have to say that was my first experience in opera when I really felt moved.”

“How can a teacher not be influential,” Hill quips when I ask her about those who had guided her on her musical way. There are nods, generous nods, to primary school teachers Jamie Thomas and Peter Luongo and her brother James.

In recent years she has learned so much from many different people it’s sometimes hard to pinpoint who might be the most influential, but Waikato University’s David Griffiths, “has inspired me with his ability to teach, compose and perform and he is able to impart his professional experiences as an opera singer and concert performer.” Hill tells me. “He has gently guided me throughout my four years study with him and is always encouraging and sensitive towards my development as a person and singer.”

Griffiths also made it possible for her to take the lead role of Mahina in his 2006 opera, The White Lady.

Hill’s four years at Waikato University, where, as a Sir Edmund Hillary Scholar, she is completing an Honours degree, have been “hugely useful,” she feels.

“My brother had done a degree in viola at the University of British Columbia and my parents wanted me to study voice because they felt it was a strength. All I knew was that I wanted to stay in New Zealand and didn’t want to follow in my brother’s footsteps anymore!

“Luckily my hesitations didn’t last long and over the course of my degree I have really developed a love for music.  When I compare the experience I would have had if I had studied at University of British Columbia, I am happy to have enjoyed a more one-on-one approach at Waikato.  The Music Department has a strong sense of community and family and I have always felt well supported. I would be surprised to find another department in this country which is as sharing and friendly as Waikato is.

Hill’s experience in The White Lady has definitely been the highlight of these years. She acquitted herself with seasoned professionalism when interviewed on TV1’s “Breakfast” and the opera itself represented “a learning curve… I’m proud of what we achieved. 

“It was a unique experience to be learning a role for a premiere performance and to discuss ideas with the composer, writer and director… it’s just a rare opportunity that I am hugely grateful for.

“Of course performing with an ensemble of any sort is always fun – it gets you out of the ‘solo’ mentality that can sometimes get a little all-consuming with singers.  I was fortunate to win the inaugural University of Waikato Aria competition this year and consequently performed with the University Orchestra – any chance to perform with an Orchestra is exciting!

This was followed by appearances in Hamilton and Rotorua, singing with the Waikato Symphony Orchestra, with critics praising Hill as being “in fine form” and demonstrating “dramatic operatic qualities with Marguerite’s Jewel Song”.

Julia Hill’s talents are not limited to the operatic and concert stages. She was captivating when she appeared in a special 2005 work by Jeremy Mayall, written for the University’s Blues Awards.

Mayall, who has made a name for himself around the country with his Symphony for Turntables and Orchestra, is a man “who never does anything half-pie,” Hill tells me.

“To be perfectly honest, I felt a little out of my depth (complete with headset microphones and costumes…) but it was so satisfying to showcase the arts to a captive sports audience!”

Looking beyond Hamilton, Hill applied for the NBR New Zealand Opera Award because it was “a matter of setting your goals high.  For where I am in terms of age and ability, the NBR New Zealand Opera is the best place to be as far as exposure, learning, networking”.

“I didn’t think I was ready to audition so had decided to wait another year until after I’d finished my Honours but I received an invitation to audition so it enticed me to try earlier than planned.  I kept things in perspective and took away what I could from the experience thinking it would end there.  Needless to say I was a little shocked when I received a letter of congratulations in the mail!”

Hill has been keeping up with the company’s recent productions with 2005’s La Traviata as the undisputed highlight.

When Traviata’s Violetta, Elvira Fatkyhova returned to play Lucia in NBR New Zealand Opera’s most recent production of Donizetti’s Lucia di Lammermoor, Hill was in the chorus and “it was nice to have that connection with her.  She’s a glorious woman and performer – I hope she will be returning one day!”

She laughs slightly when I ask her about the audition that got her into the chorus. “It was like most of others I had done for the company,” Hill remembers, “and, as they were all in the same building, I felt a degree of familiarity.  I sang two arias for a panel of about six people including Aidan Lang and Dame Malvina Major.  Interestingly they didn’t have us sight-sing but instead we had to read a sort of scripted monologue.  I presume this was to test our public speaking skills.  There was a brief interview period, a few kind words exchanged and that was it!  I didn’t feel overly confident about it, just relieved that it was over!”

What are Hill’s ultimate ambitions, I wonder. She confesses that Europe calls as she would like to be immersed in its rich culture and operatic history, but ultimately living and working in New Zealand is her dream.

In the meantime, she will have a busy year ahead of her as a PriceWaterhouse Coopers Dame Malvina Major Emerging Artist, understudying roles and playing some smaller parts in the company’s 2008 productions.

In a prying mood, I ask for more details of these productions but I am firmly told, with a delicate, ironic laugh, “All will be revealed at the 2008 season launch in October”

NBR New Zealand Opera Interns 2007/2008. Julia Hill - 6th from left.