Uma Wang dark red floral jacquard Katia jacket and rose brown spot Anaya dress.
Set against the iconic backdrop of The Regal Theatre, we had the pleasure of chatting with internationally acclaimed opera singer Elena Perroni, whose remarkable career has taken her to stages around the globe. Originally from Perth and now residing in Europe, Elena shared insights into her illustrious journey, her approach to fashion, and her many achievements. From captivating audiences worldwide to starring in some of the most renowned operas, Elena's journey is truly extraordinary.
Rick Owens bean bustier denim gown.
What first inspired you to pursue a career in opera, and how did growing up in Perth shape your early ambitions?
I love the art of storytelling. It was a form of expression as a young child, and I found I tried to channel it through multiple avenues—I experimented with jazz music first and eventually found my way to opera. Perth helped shape my ambitions firstly through my teacher and mentor, Chris Phillis, who was an opera singer herself, and secondly through my time at WAAPA as a student, being able to sit in on multiple disciplines and find out what spoke to me as a developing artist and young adult. I spent my weekends at the Ellington Jazz Bar, where I watched my professors at the time playing experimental jazz—that’s the first time I was introduced to conversation through musical instruments.
You’ve achieved many milestones in your career, from making history with the first opera performed at the Apollo Theatre to performing at Carnegie Hall in New York. Which of your many achievements are you most proud of, and why?
I would have to say seeing the world through my craft. It’s such an honour to be invited and welcomed to new countries to sing. It’s fascinating seeing the unique characteristics of opera houses, concert halls, and stages—they serve as time capsules in some ways. Of course, this is coupled with the incredible people I’ve met along the way who have influenced my life greatly. I feel most proud to be part of an art form that has the capacity to unite people from all over the world.
Uma Wang red dip dyed tan Katia jacket and Anaya dress. Guidi burgundy M88 high heel boots.
How has living and working in various cities around the world influenced your approach to both your music and your personal life?
It’s forced me to keep an open mind. When surroundings are constantly changing, I have had to understand what I need to keep myself feeling healthy. Beyond that, I try to fully immerse myself in the culture wherever I am. I feel it helps me understand my craft since so much of what I do is interpreting all sorts of characters from all walks of life.
Are there any particular designers or fashion icons that inspire you? How do they influence your approach to fashion both on and off the stage?
Since I feel I am constantly evolving, naturally so does how I want to express myself through clothing. It doesn’t bode well, however, living out of a suitcase for most of the year. I have my staple pieces that go everywhere with me—Pollacki boots, Nick Fouquet hat, Maison Margiela coat. I love these pieces because they are so strong in their point of view. You can feel the artist through the pieces with their attention to detail. I choose materials with specificity since I am a very tactile person, and I find I am drawn to pieces that feel like they have a story behind them.
Left: Rick Owens black wrap jacket. Jaga black virginia skirt. Right: Jaga antique gold Linda dress.
Are there any roles where the costume significantly impacted how you approached the character? How did the costume help you connect with your role?
Yes. My recent performance of Rusalka was strongly influenced by costume designer Renée Mulder. Her couture gowns brought new dimensions to the character. It’s such a pleasure to step into a costume and see your character from a different perspective. Since part of our interpretation of the production of Rusalka was a water nymph trying to become human and never quite feeling comfortable, Renée used raw materials such as horsehair and silks, which helped stiffen the gowns and in turn influenced my movement on stage. When the production is a period piece, for example, Victorian times, expression in the body changes drastically in a corset and bloomers to the knees… not to mention the weight of these materials—it can be a serious workout!
When preparing for a performance, do you collaborate with costume designers or have specific ideas about how your character should be presented visually? How does this process work?
By the time I arrive in the process, usually the costumes are well on their way to being made. Often, the idea begins with the director of the opera and is handed over to the costume designer to help bring the vision to the stage. There will always be tweaking involved to accommodate comfort for singing in order to allow expansion of the diaphragm, neck area, etc. In some cases, you’ll be able to collaborate with the costume designer to help bring the character to life; that’s one of the reasons it was so special working with Renée. She is a true collaborator in order to serve the storytelling and was so open to experimenting with my ideas of expressing parts of Rusalka through the costumes.
Left: Rick Owens henna lamb leather Athena tank and throat velvet dietrich pants. Right: Uma Wang dark red floral jacquard Katia jacket.
What is your favourite part of the role preparation process? Do you have any particular rituals or routines that help you get into character?
The very first reading of the text is so exciting to me. My imagination runs wild. Then it’s months of solo musical preparation before finally meeting your collaborators—designers, cast, orchestra—which is another special moment in the process. Lastly, for me, if all the pieces come together, on stage there is a feeling of surrendering to the moment and serving a bigger picture. It can be intoxicating!
Photography by Tülay Dinçel. Styling assisted by Emily Kate Cooper.