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.



Movie Review: ‘Piece by Piece,’ a Very Odd Lego Doc about Pharrell Williams Snaps Together Somehow

 This image released by Focus Features shows lego characters voiced by Jay-Z, left, and Pharrell Williams, in a scene from "Piece By Piece." (Focus Features via AP)
This image released by Focus Features shows lego characters voiced by Jay-Z, left, and Pharrell Williams, in a scene from "Piece By Piece." (Focus Features via AP)
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Movie Review: ‘Piece by Piece,’ a Very Odd Lego Doc about Pharrell Williams Snaps Together Somehow

 This image released by Focus Features shows lego characters voiced by Jay-Z, left, and Pharrell Williams, in a scene from "Piece By Piece." (Focus Features via AP)
This image released by Focus Features shows lego characters voiced by Jay-Z, left, and Pharrell Williams, in a scene from "Piece By Piece." (Focus Features via AP)

A movie documentary that uses only Lego pieces might seem an unconventional choice. When that documentary is about renowned musician-producer Pharrell Williams, it's actually sort of on-brand.

“Piece by Piece” is a bright, clever song-filled biopic that pretends it's a behind-the-scenes documentary using small plastic bricks, angles and curves to celebrate an artist known for his quirky soul. It is deep and surreal and often adorable. Is it high concept or low? Like Williams, it's a bit of both.

Director Morgan Neville — who has gotten more and more experimental exploring other celebrity lives like Fred Rogers in “Won’t You Be My Neighbor?,” “Roadrunner: A Film About Anthony Bourdain” and “Steve! (Martin): A Documentary in Two Pieces” — this time uses real interviews but masks them under little Lego figurines with animated faces. Call this one a documentary in a million pieces.

The filmmakers try to explain their device — “What if nothing is real? What if life is like a Lego set?” Williams says at the beginning — but it's very tenuous. Just submit and enjoy the ride of a poor kid from Virginia Beach, Virginia, who rose to dominate music and become a creative director at Louis Vuitton.

Williams, by his own admission, is a little detached, a little odd. Music triggers colors in his brain — he has synesthesia, beautifully portrayed here — and it's his forward-looking musical brain that will make him a star, first as part of the producing team The Neptunes and then as an in-demand solo producer and songwriter.

There are highs and lows and then highs again. A verse Williams wrote for “Rump Shaker” by Wreckx-N-Effect when he was making a living selling beats would lead to superstars demanding to work with him and partner Chad Hugo — Kendrick Lamar, Justin Timberlake, Snoop Dogg, Busta Rhymes, Gwen Stefani, Missy Elliott and Jay-Z. All those superstars sit for interviews and have hysterically been depicted as Lego minifigures, right down to No Doubt's Adrian Young's mohawk. (Take my money, Lego.)

We also learn something about his wife, Helen, and his anguish over being a solo artist, an opportunity he spurned when it was his for the taking. Ultimately, we learn to understand his futuristic approach to fashion and music. “What I am is a maverick,” he says. No one will question him on that.

The 3D world the filmmakers have made is astonishing, with waves of clear Lego pieces washing up on a beach made of slats of Lego baseplates and Williams' collection of cool beats depicted as bouncing bricks with lights in them. There's Lego McDonald's nuggets, Lego pretzels, singing Lego fish and a Lego Anna Wintour, chilly and haughty in plastic, too.

Lego, while seemingly a restrictive medium — the hands are clips and everyone's walking is robotic since there are no Lego knees — can also, apparently, in the right hands soar, and here they do, with Williams in one gorgeous dream sequence watching the Earth's lights as a distant astronaut. It is when the filmmakers make Lego appear as water and music that are their crowning achievements.

Music credits are notoriously hard to pin down — Williams claims to have created McDonald's notoriously mysterious jingle “I'm lovin' it” — and the filmmakers try to cover any misinformation with a simple disclaimer in the end credits: “Not everything in this film is 100% accurate. For example, Pharrell never went to space.”

There are also some extraordinary moments that snap by but likely took months to make, like a Lego glimpse of the “I Have A Dream” speech by the Rev. Martin Luther King Jr. at the Lincoln Memorial and protest footage from Black Lives Matter figurines shouting “Don’t shoot!”

The documentary lags a little during Williams' way up and rushes the years on top, although recreations of some of the music videos he fueled are too funny. Why he and Hugo broke up is papered over and the filmmakers struggle to find an ending, making several stutter steps.

“I think we're done,” are the last words we hear as the filmmakers finally give up. But they've left behind a trippy, sweet portrait of a genius, forever in building blocks.