From New York to Vienna: the life of Alma Neuhaus

To even get to the point of standing on such a stage, a lot is required of you: knowledge, skills, training and so on. However, it is crucial not only to have all of this, but to actually be able to put it into practice at the moment of performance. You have to trust that you can do this. In this respect, this trust in yourself is a very central and important quality. Just as central: imagination! We tell stories on stage, act out scenes. Without the necessary imagination, it simply doesn't work. It also requires a lot of self-discipline. And finally, openness is important, as we work with many people who have very different ways of thinking and backgrounds. Last but not least: taking enough time for things. As a singer, that starts with resting. For someone like me, who comes from the USA, that's a difficult concept. (laughs) But I've learned here in Vienna to recognize when I need rest And what kind of rest. Sometimes this regeneration time means being alone, sometimes spending time with friends and sometimes talking to my family.

They are very different places, but I really enjoy them both - each in their own way. It's much more hectic in New York than here. When you go somewhere, you're exhausted by the time you arrive, simply because the distances are so great and it takes so long. And there's just something going on all the time. The energy of New York can really inspire you. In comparison: In Vienna, I feel like I have space to breathe, space to take in my surroundings. And I have enough mental space to really think about the music. There's also so much culture in the air... That's why Vienna feels like a place where I can stay for longer. (laughs)

My favorite thing about the ensemble is not only that I am surrounded by so many great musicians every day, but also that I am part of such a unique community. As we work together throughout the season, we are able to build relationships and develop trust with each other - this makes us feel more comfortable on stage and allows us to have more fun. I feel inspired by my colleagues and am so grateful to be a part of this incredible group.

For me, it's somewhere in the middle. If you only have your head in an artistic cloud, you lack a place where you can ground yourself. And then it can become difficult: Always just clouds, that seems almost escapist to me. You also need the ground. I like the fact that there is a structure, a craft and knowledge that I bring to art. Equipped in this way, it's nice to immerse myself in another world, to be completely absorbed in a role. On the other hand, I really enjoy being able to go home from the theater and lead a normal life. I believe that the profession requires different things: Total immersion, but also a very realistic approach to the profession and a life outside of it.

(laughs) I keep forgetting that it's not an ordinary profession. And then I meet people who have little to do with opera and music and always experience an intense reaction to my profession. Then I remember: Oh yes, what I do is kind of strange (laughs).

The physical sensation of standing on stage and singing with an orchestral wave is incomparable. There's something intoxicating about this adrenaline rush and I think singing on stage is also a bit addictive for us singers. It's such a cool feeling that I don't know from any other part of my life. At the same time, it's about this intense connection that I can create with the people on stage and with the audience. At some point, you're suddenly on the same wavelength, feel a shared energy and tick in sync. I connect with the audience, and maybe someone thinks to themselves: I've already felt what she's performing! Or they start to think about what has just been shown. So I'm also very interested in communicating to and with everyone: with the audience as well as with my colleagues.

When you're still studying, it's difficult not to compare yourself - because you're only just discovering and finding your own voice. You ask yourself: Which direction am I going to take? But then you grow as a singer and the comparisons become less. In my case, the more I went down the rabbit hole of comparison, the unhappier I was. But if I see the achievements of others as motivation, I'm fine and I can become a better artist. In any case, Kierkegaard is very right!

It's good to feel this push a little. But basically, I always tell myself that there is room for more than just one singer. We need different approaches to each role, different points of view, otherwise it would really be too boring. And as I said earlier: you grow as a singer in this respect too. I used to feel something more like artistic jealousy, but now I ask myself: what is it about another artist that interests me so much? And if it is so important to me, how can I acquire it? That's much better than just getting stuck and thinking: Oh, this singer has something that I'm missing. If you're constantly brooding over other people, you also take the time to develop your own voice and art. Competition is always there in our world anyway, so I don't have to do my bit. So I actually see my colleagues as colleagues and not as competitors. Then it's easier to talk about shared roles and exchange experiences: and that's something really nice!