Karen Nimereala, Opera Innovator
Voice Teacher Karen Nimereala (from Francois Hanss’ Timeless 2013 Le Film)
(Paris, France) - Voice teacher Karen Nimereala first came to our attention through a friend in 2019. Classically-trainer and a former opera singer herself, some of Ms. Nimereala’s longtime clients include pop music icons Sting and Mylène Farmer. Prior to flying to Paris to see Ms. Farmer’s landmark residency, a friend mentioned that they had a social media connection to “Karen, Mylène’s voice teacher…did you know she was an opera singer?” A longtime fan of Ms. Farmer, this information had somehow eluded me, but we immediately followed Karen online and eventually, during the height of the pandemic, had a delightful FaceTime to say hello. We discussed how she not only works with classically-trained singers in New York City, but shares her training and operatic experience with the aforementioned pop stars, Brazilian pop singers, Broadway artists and French singing competition show competitors and more. In late 2022, French magazine GALA profiled Karen, just as Mylène Farmer’s album “L’Emprise” was released. In Karen’s honor, we’ve reprinted journalist Thomas Durand’s interview to spotlight her remarkable accomplishments with artists around the world, including Mylène Farmer, whose Nevermore 2023 Stadium Tour opens June 3rd in Lille, France (see you there). Brava, Karen! - JBM for OI
INTERVIEW – Mylène Farmer, from her vocal coach: “She has something extraterrestrial.”
Thomas Durand | Wednesday, November 30, 2022 at 9:13 p.m.
RESERVED ACCESS
In 2008, Karen Acampora Nimereala, former opera singer and vocal coach, began collaborating with Mylène Farmer. She tells us exclusively about this odyssey with Mylène, which reveals more about the artist and person she is. "Ah, finally!"
Her red hair, her rarity, her refusal to compromise. Since her beginnings almost forty years ago, the same clichés return when it comes to describing the artist Mylène Farmer. Her persona is complex. The woman we’ve come to know, through intermittent exchanges (over the years), reveals herself to be very down to earth, transparent; she can be funny, endearing, and even kind. But the artist, when in the public eye, has learned how to stand above the pop world, like a silent icon. This is why Karen Acampora Nimereala, her vocal coach since the late 2000s, was so enthusiastic when we expressed our desire to discuss the work of "M" - as her intimates call her - on the subject of her voice. Essential - or have we forgotten? - for a singer, right? Projected like a childlike whisper on her first song - "Maman a tort" in 1984 - Mylène's voice now masterfully plays with the notes. "L'Emprise" (Sony Music), her latest album - which is very symphonic - was developed with Woodkid, Moby, the British band Archive and AaRON, respectively; Mylène effectively oscillates between low and high notes with true mastery. In live performances, her performance is the same. Her upcoming "Nevermore 2023" tour, which begins in June 2023, has more than won over fans and the curious, with more than 550,000 tickets already sold, seven full stadiums, and six others just about to be. We view this as a triumph for Nimereala, a former opera singer, who tells us about Mylène's total devotion to her art.
"Mylène is a loner who has restricted her circle of intimates. But she is very loyal and has a rare sensitivity." - Karen Nimereala
Meeting
"It was almost fifteen years ago, in 2008. I was a rehearsal pianist for Sting, the lead role in "Welcome to the Voice," a fabulous rock opera performed at the Théâtre du Châtelet in Paris. Knowing my background as an opera singer and my activity as a vocal coach, Mylène’s manager Thierry Suc called on my services, which was the beginning of a beautiful collaboration with Sting: two albums, symphonic concerts, a Christmas carol show... "Welcome to the Voice" was co-produced by TS3, Thierry's company. A few days after the last performance, Thierry offered me a meeting with Mylène, who was preparing for her 2009 concerts. Having sung operas in France in the 1980s and 1990s, I knew of Mylène, who was unique in the world of French pop. Coming from the United States, where pop music is quite standardized, I’d never heard such a voice, this light soprano tessitura, soft yet capable of reaching high notes. Her writing and her absolute connection with her audience also equally fascinated me. Thierry believed that there was something more I could share with Mylène. I listened to her album "Point de Suture," on which she sings an incredible Ave Maria. At that point, I believed Mylène had a very good base for developing a technique that I had previously learned alongside Franco Corelli, one of the greatest operatic tenors. As the tour approached, Mylène herself felt ready to take on this challenge."
Extraterrestial
"Mylène is an absolute artist. She is a singer, performer, dancer, and, let's not forget, the author of her own lyrics. She approaches melodies like a canvas. She adds her colors, nuances and rare depth. That's what sets her apart from other pop artists. For me, she has something extraterrestrial. I call her Madame Baudelaire. She masters melodic art like classical singers. This is very noticeable when she sings, simply accompanied by a piano, in the middle of a stadium, in an almost religious silence. She keeps an art form alive that is on the verge of extinction. Her willingness to train in it, no matter the difficulties, says a lot about her personality. Together, we discovered abilities that she had never exploited. I discovered a woman as passionate as she is discreet. She is a loner, who has restricted her circle of intimates. But she is very loyal and of rare sensitivity. Her music is an armor, but the woman she is in private is very down to earth.
Magical nights
"In 2009 and 2013, we studied her lyrics together to further perfect the resonance of her vowels and the coloration of her singing. We’ve done this after a concert, at the hotel, far from our familiar surroundings. And from one show to the next, I would notice Mylène's improvement. Before a series of concerts, we usually meet for 1.5 hours of exercises, two to three times a week. Mylène was born to be a star. She is a perfectionist, ultra-disciplined, this isn’t a secret. I think her audience is grateful for her total investment in what she offers, her artistry. Singing on stage every three days can quickly become exhausting. It is a test of physical, vocal, and mental endurance, as engaging as an opera. But Mylène has this endurance. She’s never balked at any task during our sessions. However, she’s cursed me a bit when I’ve forced her to sing even higher. But she quickly understood the value of it. Ultimately, only a few people are aware of what she experiences during her tours."
Hidden treasure
"Mylène was shy only at the very beginning of our collaboration. As I discovered her vocal abilities, I pushed her to sing higher and higher. At first, she was a little discombulated. And then, at a certain point, she understood that I was asking her to reveal her true voice. Of course, she was a bit nervous, as if I was asking her to jump off a cliff in the middle of the night. However, she ultimately experienced it as a leap into the light. She soon became aware of the hidden treasure at the bottom of her throat, that her range is extendable and goes far beyond what we had heard up until that time. In 2008, she lacked the proper technique of classical singing, even though her voice was already more supple than most contemporary pop artists. She naturally sang in high head voice and lyric voice, which is rare! She was able to maintain high notes, with (breath) support and endurance. Her breath is really remarkable. Mylène was content to sing in a low pitch, like many young artists today. But she also understood that working on the high notes would allow her to preserve the malleability of her voice, to sing without extreme effort or with a risk to her vocal cords. Mylène…has never lip-synced in front of her audience. Can you imagine the mastery required to perform twenty songs every night? She’s an incredibly hard worker, especially now, as vocal signatures are becoming rarer and rarer."
“I think her audience is grateful for her total investment in what she offers, her artistry. Singing on stage every three days can quickly become exhausting. It’s a test of physical, vocal, and mental endurance, as engaging as an opera.” - Karen Nimereala
Laughter
"My funniest memory with Mylène was when she hit her first high note, one that’s obsessed over in the opera world. Surprised, she burst out laughing, rolling on the floor. In another life, she could’ve sung Puccini. As an artist, Mylène is truly unique - fragile yet strong. I must admit that sometimes I regret not persevering as much in my own singing career, life caught up with me. But Mylène's talent absolutely delights me. It’s a gift that she has worked hard to achieve and maintain…a gift that needs to be respected and cherished. I consider myself lucky to have gained her trust. Mylène has returned to me as much as I have taught her. It’s the most wonderful, rewarding experience to see her flourish in her art."
Interview by Thomas Durand for GALA Magazine.
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Visit Karen Nimereala via her website.