Glasgow Lives: Hye-Youn, London, Professional Opera Singer

Being an opera singer is both exhilarating and demanding. Opera demands unwavering commitment -rehearsal, vocal exercises, language study for varying roles, and maintaining vocal health - are all part of an opera singer's routine. It helps to be very patient.

I am a Soprano, which is the highest female voice, belonging to the highest vocal range in opera. The voice possesses clarity, agility, and the ability to soar to thrilling heights. Sopranos often take on lead roles, portraying heroines, tragic figures, and powerful women.

I am the only musician in my family - they are more involved in education and academic work. Before going to university at 18 to study a Bachelor of Music degree, I wanted to become a translator or interpreter and work in something related to language. Before studying music, I had only sung in the choir at church or school - and a lot of pop songs at home - so I hadn’t really prepared much for a musical career, but I worked hard at university and was motivated by my fellow students.

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After graduation, it was natural to go abroad to continue studying. I went to Berlin and got the chance to sing as a member of the young artists company with The National Opera of Strasbourg and then with the Opera Bastille in Paris.

I remember lots of auditions - lots of failed auditions - at the beginning of my career, but since then I have had the opportunity to perform with many wonderful opera companies and in concerts worldwide, including many roles with Scottish Opera.

This year is my tenth anniversary performing with the company, playing the lead role of Violetta in Sir David McVicar’s beautiful production of, La traviata. Violetta is a 19th-century Parisian Courtesan, who is beautiful, charming, and witty. Her job is entertaining wealthy men and attending lavish parties, until she finds genuine love with a young man named Alfredo, with tragic consequences - when you come to see it, bring tissues.

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Violetta is one of my signature roles, but this is the first time I will perform it in Scotland. My first ever role with Scottish Opera was Madame Butterfly in 2014, which was also a Sir David McVicar production.

I love coming to perform in Scotland, except for the weather! Scottish Opera is such a warm, friendly and professional company. I feel very supported and respected as an artist. La traviata is set in 19th-century Paris, so the costumes are traditional which involves wearing corsets under heavy fabric dresses, which can be restrictive when signing opera opening your diaphragm to reach the highest notes.

Scottish Opera’s costume department customised my corset and velvet dress for Violetta, which meant the shape was more flattering and, also, made it easier for me to sing. I saw how clever the costume department are and how much effort, skill and care they put into finding a solution to make everyone happy and I’m very appreciative of that.

The pressure to deliver flawless performances, cope with nerves, and maintain physical stamina can make the dynamic with other singers challenging. But when the stage director, conductor, or my colleagues recognise that I’m on a good track, my love for music and the thrill of live performances keeps me going.

The best thing about being an opera singer is travelling worldwide, meeting new people, creating and embodying characters, and sharing emotions with the audience. The applause, the appreciation and the connection - it's magical.

Scottish Opera’s production of La traviata tours to Glasgow, Aberdeen and Edinburgh in May and June. For more information, visit: La traviata

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