Quickly establishing an international career on both the opera stage and concert platform, bass-baritone Teddy Tahu Rhodes has always had a love for music and performance.
Crediting his years at UC as pivotal in setting him on the path to a career in music, Teddy has since performed in international opera companies across the United States, Europe and the UK. Throughout his career, Teddy has taken home an ARIA Award, two Helpmann Awards, the Limelight Award, a Green Room Award plus a MO Award (Operatic Performer of the Year). When looking at past productions and opportunities, Teddy reveals it is, “A humbling experience; to be a small part of the history of a piece of music and theatre.”
When and where did you first discover your talent and love for music and performance?
It’s hard to be specific about that as I feel it’s something I’ve always done. For as long as I can remember I used to sing around the house and my mother would play piano whilst I sang hymns every Sunday. In my later years it was through mentors and teachers who heard something in me that guided and encouraged me to follow something I had a passion for. It started at Primary school where I would perform in the school productions – my first being The Tin Man in The Wizard of Oz.
While studying Finance and Accounting at UC did you have the opportunity to stretch your musicality during your time here too?
Absolutely, it was during my UC years that my path into Opera and performance truly began. After my first year of Finance, I decided to include some Music units in my studies and was selected for the Music Performance course along with other units. It was through the UC Music Department that many opportunities arose, and I met wonderful teachers such as Maurice Till and Mary Adams Taylor who guided me through my formative years. I gave many performances during those years and won the Dame Mary Leo Scholarship for NZ's Most Promising Singer at the end of my first year. My years at UC were pivotal in setting me on my ultimate path to a career in music.
Do you have a memory that stands out when looking back at your UC experience?
It’s really not about one memory rather than the overall memory of my time there. The friends made, the comradery in studying, and the gatherings on the banks of the Avon. The study of course was what guided me career wise, but it was the friendships and community that helped shape me.
I imagine opera and performance could be a tough industry to break into. How did you go about carving out your career?
Whenever I speak to young aspiring singers these days, when asked this question I always say, that when the opportunity arises you have to be ready for that opportunity. One might be “lucky” to get an offer but that’s only useful if you’re ready to take it. My first international professional job came about because they needed someone last minute. I was invited to audition in Australia for a role at the Opera House. The only reason I got the job is that I believe the hours of preparation alone in practice rooms had prepared me for that moment. Once the opportunity arises then it’s a matter of taking and building off it. There have been many auditions and knock-backs, and a careful selection of what roles to do when. Most importantly though it also comes down to the support and advice of people who are willing to take a risk on you.
You’ve performed all over the world. Is there a favourite production you’ve been a part of?
Choosing one production seems almost impossible. Every production and opportunity, or venue where there is such a history, to follow all around the world is truly sometimes a humbling experience; to be a small part of the history of a piece of music and theatre. However, to choose one I think I can select a modern opera that I debuted in San Francisco called “Dead Man Walking”. An extraordinary production and story based on the life of a wonderful woman called Sister Helen Prejean, whom I had the pleasure of meeting. The opportunity to create a role in its first ever production is a privilege as much as it is a rarity in the world of opera.
What’s on the cards for the next few years?
As I get older, I’m still transitioning into the more “senior” roles. It’s interesting revisiting operas where I once played the romantic lead to now playing the elderly protagonist or Father. It’s actually a wonderful journey. I’m also doing things now where I’m mentoring the new generation which is something I’m looking forward to doing more of. It’s how I started, and the circle of life now means that perhaps I’m able to help new aspiring young singers gain the opportunity to live their dreams.
