Meet the Musician: Julia Bullock
One of the leading classical vocalists in the world today, Julia Bullock has been described as ‘an essential soprano for our times’ by the Los Angeles Times.
Born in St Louis, Missouri, Bullock’s career as a singer began when she joined the Opera Theatre of Saint Louis’ artist-in-training programme whilst still at high school. Her studies continued through the Eastman School of Music, Bard College, and ultimately at Juilliard, where she was still studying when in 2013 she debuted with the San Francisco Symphony.
Bullock has gone on to appear with orchestras the world over, including the Los Angeles Philharmonic, Boston Symphony Orchestra, London Symphony Orchestra, and BBC Symphony Orchestra, and she has held artist residencies with New York’s Metropolitan Museum of Art, the San Francisco Symphony and London’s Guildhall School.
Her many key operatic debuts including at the San Francisco Opera and the Dutch National Opera in John Adams’s Girls of the Golden West, the English National Opera, Spain’s Teatro Real, and Russia’s Perm Opera House and Bolshoi Theatre in the title role of Purcell’s The Indian Queen, and in Handel’s Theodora at the Royal Opera House here in London. In 2019 Bullock premiered Zauberland, inspired by Europe’s migrant crisis, which has been performed in New York, London, and throughout Europe, where she currently resides in Munich.
On 2 February Bullock joins us in our Queen Elizabeth Hall with the Philharmonia Orchestra for History’s Persistent Voice, a mixed-media project which celebrates Black American artists through new songs, readings and visuals highlighting their work and experiences. Ahead of that appearance, we caught up with Bullock to find out more about her influences, her favourite concert venues, and why her current musical listening is at the behest of a 14-month old.
Did you always want to be a musician?
I always wanted to perform, and sought out various ways to express myself, yes.
What’s your earliest musical memory?
My father singing… he had a beautiful baritone voice.
Who are the other artists that influence you and your approach to music?
Oh they are countless, endless! I respond to inimitable voices – whether that’s to a distinct interpretive or sonic voice, or the voice of a composer (in text or music). But to give a few names, and really just a few, Régine Crespin, Janet Baker, Kathleen Ferrier, Connie Converse, Nina Simone, Eleanor Steber, Shirley Verrett, Jan DeGaetani, Lorraine Hunt Lieberson, Jimi Hendrix, The Beatles, G.F. Handel, W.A. Mozart, Laura Nyro, Judy Collins, Leontyne Price, Pink Floyd, Frederica von Stade, Suzanne Danco, Zap Mama, Richie Havens, Simon & Garfunkel, Olivier Messiaen… I could go on and on.
‘My favourite performances are the ones when I’m at my most conscious… there’s nothing more thrilling, surprising, and inspiring than the times when intentional communication occurs between those present.’
How does it feel to perform in a concert? And what role does the audience play in that experience?
My favourite performances are the ones when I’m at my most conscious, and all of my intentions are transparently delivered. There’s a palpable surge of energetic exchange between those of us on stage making an offering, and those witnessing, observing and receiving. And there’s nothing more thrilling, surprising, and inspiring than the times when intentional communication occurs between those present.
What’s your favourite piece of music to perform?
I try to convince myself that my favourite piece of music to share is the piece I’m singing at that moment (and it’s usually the case).
And what is your favourite to listen to?
Right now it’s our ‘BabyTime’ playlist, of 11 hours and 23 minutes of music, that we put together for my now 14 month old. It’s my favourite music to listen to because firstly there’s great variety; secondly, kiddo dances and moves to the material and is starting to vocalise along too, which is delightful; and thirdly, it’s just what’s on, so… yeah, gotta love it!
Which is your favourite venue at which you’ve performed and why?
The venues that have a legacy of historic performers and performances, because there’s a tremendous vibe in the physical space, and an acoustic which encourages me to sing to the best of my voice – at its most clear and concentrated. Right now they include Carnegie Hall – both its Isaac Stern Auditorium and the Weill Recital Hall – in New York; Wigmore Hall in London; and Concertgebouw in Amsterdam. And there have been other venues in small towns across the globe which also have been brilliant.
What, if anything, would you change about classical concerts?
That those sharing material don’t make any assumptions about those who are in attendance. Creating an inviting environment for people to experience the performing arts, I hope will forever remain a priority.
‘My favourite venues to perform are those that have a legacy of historic performers and performances, because there’s a tremendous vibe in the physical space.’
What prompted you to establish History’s Persistent Voice?
Life, culture, reading, listening, reflections, like everything else.
Who, if anyone, do you turn to for feedback on your performances? And do you pay much attention to reviews?
Recordings, both audio and visual, are super informative, and I have close confidants. I do read reviews of shows, because I used to find it helpful to read various perspectives on what occurred. But I’ve come to trust my own experience, and am usually well aware of what is and is not being accomplished over the course of a performance. It’s reassuring to calmly read something and say, yeah, that was my experience up there also – whether positive or negative!