Singing Contest Amplifies South Africa's Opera Dreams

South African tenor Luvo Maranti is taking part in the prestigious opera competition. MARCO LONGARI / AFP
South African tenor Luvo Maranti is taking part in the prestigious opera competition. MARCO LONGARI / AFP
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Singing Contest Amplifies South Africa's Opera Dreams

South African tenor Luvo Maranti is taking part in the prestigious opera competition. MARCO LONGARI / AFP
South African tenor Luvo Maranti is taking part in the prestigious opera competition. MARCO LONGARI / AFP

In his previous life, Luvo Maranti didn't read music and the only thing he knew about opera was who Luciano Pavarotti was.

He and his friends used to imitate the Italian tenor before bursting into laughter.

This week, the 29-year-old South African will sing his lungs out at Operalia, one of the most prestigious opera competitions in the world, said AFP.

The annual contest, which started in Cape Town this week and runs until Sunday, was created by Spanish tenor Placido Domingo 30 years ago.

It features 34 contestants selected from an initial pool of about 800 singers.

Following in the footsteps of superstar soprano Pretty Yende, who sang at the coronation of Britain's King Charles III this year, five of them are from South Africa.

Maranti gave up a job in human resources to chase his opera dream.

He had to tell his parents he would not be able to support them for a while and sometimes went days without a meal while trying to secure grants to fund his studies.

But he doesn't regret taking the plunge for a second.

"I felt a bit selfish but I wanted to be happy, not sit in an office all day," he told AFP.

"I had to start from scratch," he said, explaining that his previous experience with church choirs and polyphonic music only went so far.

"Opera is a whole different ball game, I had to learn how to read a Western score."

His debut was nerve-racking, he recalled.

"With a choir, you have a sense of security. As a soloist you are vulnerable. As soon as you hit your first note, everyone can see your heart... I felt so much judgement," he said.

Now he feels at ease, also singing in Italian, German and French.

Sakhiwe Mkosana, a baritone, made a similar journey from an impoverished South African township to Frankfurt, Germany, where he is enrolled in a program for young talents.

He once dreamt of becoming a lawyer. But a high school teacher noticed his talent on the first day he attended choir trials -- and put him on a different trajectory.

"If you can stick to this, you can make a really good career," he remembers the teacher telling him.

"I love being on stage and getting to tell a story to people who don't necessarily understand the words, take them through the story," said the 29-year-old.

"If I can convince anyone to come to an opera show, I have done my work."

'Deeper opera world'
In black communities across South Africa young men are often expected to choose a "classic" profession, becoming a doctor or a lawyer, he said.

Many questioned his judgment, doubting he could make a living from his imposing voice.

But Operalia offers important exposure.

"We will be singing in front of managers, agents and casting directors," Mkosana said.

The competition is like "a great audition", said Nombulelo Yende, a soprano and the younger sister of Pretty.

It offers an opportunity to be spotted without having to fly around the world.

At 32, Yende already has a well-established career. But the contest can "broaden my horizons", she said.

In a studio at the Cape Town opera house, she is rehearsing Mozart and Wagner.

Wearing a floral dress, her hand waves in front of her body to the rhythm of the melody, as her powerful vibrato rings out.

"Singing opera is so liberating to me. I love playing different characters, invoking so many emotions," she said afterwards.

Another contestant followed her in the studio -- Siphokazi Molteno, a 31-year-old mezzo from the southeastern city of Gqeberha, now based in New York.

"I have sung as long as I can remember. But opera is not a thing in my community," she said.

It was once again a music teacher who nudged her in another direction, by getting her to learn a Mozart aria.

Some of her classmates giggled uncomfortably, but she felt "immediately emotionally attached to it".

"I would listen to it when I was alone. This deeper opera world, I knew it was something special, so precious," she said.



China’s Jia Brings Film Spanning Love, Change over Decades to Busan

This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
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China’s Jia Brings Film Spanning Love, Change over Decades to Busan

This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)

Chinese director Jia Zhangke's ambitious latest, which utilizes footage shot across two decades, offered a peek into the evolving nature of cinema as it unspooled at this year's Busan International Film Festival.

"Caught by the Tides" combines a story of elusive love with a panoramic portrayal of recent Chinese history using everything from low-resolution digital camera footage to a scene enhanced with cutting-edge AI technology.

And while it explores the meaning of the past, the film's creation emphasized innovation.

Jia assembled and recontextualized footage shot over more than 20 years, including unused scenes from previous films, newly filmed sequences, and random images he captured during his travels -- blending documentary and fiction.

The result, with a format reminiscent of Richard Linklater's 2014 film "Boyhood", creates a vivid record of time passing, particularly through lead actress Zhao Tao, Jia's long-time collaborator and wife in real life.

As she goes on a fruitless search for a lost love, audiences witness her age before their eyes.

The film also uses images related to key events that have shaped contemporary China, such as the successful bid for the 2008 Olympics and the construction of the Three Gorges Dam, which resulted in often overlooked suffering for those displaced by the project.

"After Covid, I felt that one era had ended and a new one was emerging," Jia told reporters in Busan when asked what motivated him to create "Caught by the Tides".

"With the rapid advancements in technology, including science, the Internet, and AI, people's lifestyles have also shifted. I realized that during this period of change, it was important to process the (accumulated) footage I had previously filmed."

Actress Zhao described the film as a "truly precious gift."

"It has allowed me to document my 20s, 30s, and 40s through the medium of film, while also expressing the lives and struggles of many women through the character," she told reporters.

The film played over the weekend as part of BIFF's gala presentation section.

- Covid, cinema and AI -

Jia's feature debut, "Xiao Wu", earned the director BIFF's New Current Award for emerging filmmakers in 1998, when he was just 28.

"It's not an exaggeration to say that my life as a filmmaker started in Busan," Jia said, adding he had missed the South Korean port city since his last visit.

He has since won the top prize at the Venice Film Festival for "Still Life" (2006), among other prestigious awards, establishing himself as one of the most important Chinese filmmakers of his generation.

"Jia stood out as someone who is obviously talented. He was, above all else, original," Kim Dong-ho, the 87-year-old BIFF founder, told AFP of the Chinese filmmaker's younger years.

Now 54, Jia has brought his latest film to Busan at a pivotal moment of change for the festival.

BIFF's opening night featured a streaming title for the first time in its history, and it hosted a day-long conference just on the theme of AI in content production.

At the festival's main venue, giant posters of Netflix's latest streaming projects underlined the shift -- including its opening film "Uprising," positioned next to a festival gift store that ironically proclaimed: "Theater is Not Dead."

Jia's film, by its end, reflects and evokes these changes and what may lie ahead, showing its characters queuing for PCR tests and wearing masks during the Covid pandemic, an era that contributed to the rise of streaming platforms worldwide.

One scene was modified using AI technology, changing the film that the protagonist watches to create a stronger link to an element introduced later in the story -- robots.

When reflecting on his some 26 years in film, Jia said: "It feels like I've been drifting in an endless ocean."

But "completing each film made me feel like I stood tall, having overcome the waves."