The Tripartite Tenor: Niclas Oettermann on Opera, Composition, and the Singer's Journey
- Michael Thomas
- Apr 1
- 7 min read
A conversation with the International Voice Competition Boris Martinovich juror Niclas Oettermann on the challenges and innovations shaping the future of vocal music and opera
What does it take to thrive in the demanding world of opera? For Niclas Oettermann, the answer lies in a unique combination of roles: tenor, composer, and manager. This extraordinary journey has given him an unparalleled understanding of the art form—an understanding he brings to his role as a juror for the International Voice Competition Boris Martinovich. In this revealing conversation, Oettermann shares his personal experiences, his surprising observations on the differences between singers across cultures, and his passionate vision for the future of vocal music.
Your career encompasses tenor, composer, and manager – a unique combination. How do these three roles inform and enrich each other, and how does this multifaceted experience shape your perspective as a juror for the International Voice Competition Boris Martinovich?
ANSWER: The more I engaged with opera literature as a singer, the more I questioned why composers handled text and scene in certain ways. This became particularly noticeable to me in the precise scenic musical design of late Verdi, Puccini, and Korngold. The closer I examined, the clearer not only the tonal setting became, but also dynamics and emphasis—down to the finest details, as if there was no alternative.
The fact that some directors overlooked or even ignored this led me to want to create music theater myself—without compromise regarding what speaks from the music. For me, a deep understanding of the music is essential to fully grasp a work. Naturally, this also shapes my view of young singers. Opera should be an experience—not mere showmanship, but something profoundly human conveyed through song and scene. Don’t get me wrong; this does not require action on stage. You can see it in a singer’s face whether they understand the scene.
The International Voice Competition Boris Martinovich attracts singers globally. What are the key differences you've observed in the training and approach to vocal artistry between singers from Europe/USA, and those from East Asia and China?
ANSWER: What I particularly like about the International Boris Martinovich Singing Competition is that it has no age limit.
There aren't many competitions of this kind, and I believe it is absolutely right to support singers who may have taken a more unconventional path and are now ready to present themselves to an international jury.
In my observation, much has changed in recent decades. Classical music originally emerged from the traditional music of a given culture. Thus, it is clear that Europeans have an almost innate access to it. A few decades ago, the stylistic approach between East Asian and European youth was still noticeably different.
Nowadays, this is no longer the case. Classical music has held a high status in East Asia for a long time. It is no coincidence that European music academies are overwhelmingly attended by East Asian students, who are not only naturally talented but also extremely diligent. Unfortunately, in contrast, we are witnessing a decline in the appreciation of classical music in Europe.
As a composer, what inspires your work, and how does your compositional experience influence your assessment of a singer's interpretive skills at the competition?
ANSWER: As a composer, I—like probably all composers—draw inspiration from the great masterpieces of Bach, Mozart, and Beethoven. I adhere to the tonal system because no existence on Earth is without relationships; we all seek harmony. Even though there may be nothing new to discover in harmonic structure, nature still holds rhythmic mysteries yet to be fully explored.
When a singer has truly understood a composition, it is audible and impressive. But that is not everything. When I hear a singer’s interpretation, I always ask myself: Are they merely imitating, or is it authentic? This distinction is not always easy to make. However, imitating a good interpretation can also help strengthen one’s own artistic intuition. Beyond interpretation, what convinces me most is personality.
Do you look for singers who might be particularly suited to performing your works?
ANSWER: No. For me, it’s the other way around. When composing vocal literature, I always have specific voices in mind for whom I am writing. Of course, if I want to engage a singer for a new project, I compose for that particular voice. And I am more willing to make adjustments for a singer than to force them into something that doesn’t suit them. I have an almost Baroque perspective on this.
You've worked extensively in different opera houses and with diverse singers. What are some of the biggest challenges facing young singers today?
ANSWER: The opera world has changed during my career. On the one hand, director’s theater dominates and considers itself the decisive force in opera. I do not doubt its impact, but whether it truly serves the power of opera is something I often question. This has implications for singers, as roles are now often cast based on the director’s concept rather than vocal ability.
On the other hand, state funding for an art form that no longer produces new world-renowned compositions was bound to decrease sooner or later. Opera has acquired a certain museum-like quality. We are under pressure to act to counteract.
The opera world is constantly evolving. What are some of the most exciting trends or innovations you see in opera and vocal music today?
ANSWER: On one hand, I see the most exciting trends in vocal music today in pop music, which features fascinating combinations of hip-hop, opera, and bold new aesthetics. Meanwhile, the state-funded opera world faces budget cuts and lags behind. Unfortunately. Museum administrators are not as innovative as creators.
On the other hand, the power of vocal diversity, virtuosity, and the deep connection between soul and music remain much stronger and richer in classical singing. We will see what combinations and collaborations will emerge to bridge the artificial and unnecessary divide between ‘high’ and ‘popular’ music. There are already promising approaches beyond mere spectacle. This opens a vast, unexplored field. Incidentally, even 150 years ago, Brahms wanted to compose a symphony incorporating the new ragtime—but unfortunately, he ran out of time.
Beyond technical proficiency, what qualities are you looking for in singers that truly stand out at the Boris Martinovich Competition? Is it charisma, interpretive depth, a unique vocal color, or something else entirely?
ANSWER: For me, every genuine search for one’s own vocal power is worth supporting. Everyone has a unique vocal color, yet many alter their sound to fit an ideal. That makes it difficult to determine where their journey should lead. Chi sa respirare sa cantare. Whether someone sings on the breath, I can tell very quickly. Those who master their breath not only secure their voice for a lifetime but also develop their own sound freely, allowing them to cultivate charisma. Breath provides the freedom to navigate interpretation, repertoire, dynamics, and expression without being constrained by vocal limitations. I seek authenticity, skill, and character.
What role does cultural background play in a singer's artistic expression?
ANSWER: Of course, Italians have an easier time grasping Italian opera, but simply being a singing pizzaiolo does not automatically make one a Verdi singer. Conversely, one might not expect a Swede from the far north to deliver definitive interpretations of Verdi’s music, yet Jussi Björling remains unmatched in many ways. Prejudices lie more with the audience. These perceptions play a significant role in reception but not necessarily in artistic expression. True artistic temperament knows no cultural boundaries.
Can you share a memorable experience from your work with singers that illustrates the power of vocal music to transcend cultural boundaries and connect with audiences on a deeply emotional level?
ANSWER: When an audience remains silent for a full minute and a half after the last note fades, breathing quietly before breaking into applause, that is when a singer knows they have touched people in the depths of their souls. George Bernard Shaw once said, ‘Music reaches people where words cannot.
As a manager, what advice would you give to aspiring singers who dream of an international career in opera?
ANSWER: Diversify your skills and have a backup plan in case things don’t work out. Having an alternative strengthens your negotiating position. Learn the business and observe how others navigate it. And if you truly want it, don’t let setbacks discourage you—they are part of life. Life is like a mountain: it goes up, but also down. And at the top, the air is thinner.
What resources or strategies do you think are crucial for success in today's competitive environment?
ANSWER: I advise everyone to listen to themselves. Critics, vocal coaches, even jury members express opinions. It is valuable to hear them, but everyone should ultimately remain true to their inner voice. As singers, we all have our quirks—some vanity, a bit of self-focus, or hypersensitivity to the world. Listen to your inner self. It will show you the way.
Niclas Oettermann's journey—from tenor to composer to manager—illuminates the interconnectedness of artistic disciplines within the opera world. His emphasis on authenticity, breath control as the foundation of vocal power, and the importance of listening to one's inner voice provides valuable guidance for young singers. His insightful observations on the evolving landscape of opera, highlighting both challenges and exciting innovations, offer a compelling glimpse into the future of vocal music. Oettermann's multifaceted perspective underscores the need for a holistic approach to vocal artistry, one that values not only technical proficiency but also interpretive depth, personality, and a resilient spirit capable of navigating the complexities of a global stage. His words resonate with a powerful message for any aspiring artist: embrace your unique voice, listen to your inner self, and never cease striving for authenticity in your artistic expression.
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