Rising Star: Bella Marslen's Path from Wesfarmers Arts Young Artist at WAO to London’s Opera Stage.
From her first appearance in Pagliacci as a child, Bella Marslen's journey with West Australian Opera has come full circle—most recently as a member of our Young Artist Program. With her striking voice and magnetic stage presence, Bella has grown into one of WA’s most exciting emerging talents, stepping into the spotlight with poise, gaining invaluable experience and mentorship that has now launched her into the next chapter of her career.
We had a chat with Bella to reflect on her time with WA Opera, her incredible growth as an artist internationally, and what’s next on the horizon, including what to expect with her special recitals at Kidogo Arthouse, with the last performance tonight!
(More information on tickets below for tonight's 25th July performance).
You were recently part of the WA Opera Young Artist Program. What did you take away from that experience, and how did it shape you as a performer?
"I absolutely loved my time as a Young Artist with West Australian Opera. I was lucky to work closely with Chris van Tuinen (Artistic director), Emma Matthews (our patron) and my fellow Young Artists for coaching sessions, rehearsals and performance opportunities.
The company organised coaching sessions to work with guest artists such as Conductor Dane Lam, and we performed in concerts such as Morning Melodies, the staged Bach Easter Oratorio and promotional events.
We were generously supported by Bendat Scholarships which we could use to further our artistic development. I used one of my scholarships to study and develop my Italian language skills in Bassano del Grappa in Italy which was an incredible experience.
Being part of the program meant I was involved in operas as part of the chorus which gave me performance experience as well as valuable insight into rehearsal and production processes. I was encouraged to sit in on the principal rehearsals and observe them as they developed their roles. Observing these artists and working with directors such as Sarah Giles was a real highlight. The inspiration, mentorship, artistic development and encouragement as a young performer were invaluable.
Over my time I gained a wonderful rapport with the West Australian Opera team. Even since I have left the program, they have continued to extend support and invited me back in 2024 to perform First Wood Sprite in Rusalka."
You actually began your journey with WA Opera as a child in Pagliacci! What do you remembert that experience, and how did it inspire your love of opera?
"This was the experience that kick-started my love for opera, and I thank my teacher at the time Jane Artelaris for putting me forward for it because without her I might not be doing what I do today.
I have such clear memories of rehearsals, of the excitement of my first costume fitting and music calls and the stage lights, the smell of paint backstage and the feeling of performing in front of an audience like that for the first time.
I remember feeling that this was something I could never get enough of and for months after that the music was stuck in my head. From then I got more and more into classical repertoire and I haven’t stopped learning since.
The kindness and passion of the people at West Australian Opera still sticks with me - it was so supportive and inspired me so much. Years on, I’ve been able to reconnect with and work with many of the people I first met during Pagliacci in 2012 which has been an absolute joy.
A cool note - when I walked off the stage at His Majesty’s when I was 12, I walked off the set of Pagliacci. When I walked back onto the stage for my Young Artist Audition with West Australian Opera 11 years later, I walked back onto the exact same set as they were re-staging the same production of Pagliacci that year. It was a very full circle moment that my younger self definitely would have loved!"
You’ve won some amazing awards during your studies. How did those moments help build your confidence and develop your voice?
"I have been very fortunate to be the recipient of these awards. Competitions are always an unpredictable business, but for me have been a fantastic way to gain performance experience and build mental resilience. I always learn something from getting out there, whether it be gratifying or humbling.
Learning how to manage the body under pressure is just as important as the skills we develop alone in the practice room and competitions have been a great avenue for me to try out things in front of an audience or panel.
Of course, receiving awards gives you great confidence and sometimes financial boost, however I have felt equal satisfaction and success when I have walked out feeling like I really enjoyed the experience, performed the way I’d set out to and connected with the panel.
Overall they are a great way for me to keep on track with my performance skills and learn."
You’ve had an exciting run recently, performing Barbarina in The Marriage of Figaro and in Jonathan Dove’s 7 Angels. What were those performances like, and what was it like meeting the composer himself?
"The second year of my Master degree at the Royal College of Music has been incredibly valuable and these two productions were real highlights.
The Marriage of Figaro was a blast from start to finish. Set in a vineyard between 1970-80, the opera not only looked wonderful but it really gave a fresh perspective on the convoluted dynamics between the characters. Our director Jeremy Sams, associate director Harriet Taylor and Movement/Intimacy director Scott Howland spent a lot of time with us dissecting the layered interactions between each character so that the many relationships and background stories could shine through.
I was so excited to perform Barbarina, and had a lot of fun developing her confidence, sass and manipulative charm. It was my first time playing a character like that and performing a role in a Mozart Opera so it challenged me, but I felt very comfortable and supported on stage by the production team and my co-performers. Musically it was gorgeous, and I learnt a lot working closely with Michael Rosewell, our conductor who has incredible knowledge of the repertoire.
I can’t tell you how talented that company of performers were, with many of them now performing in very significant opera houses in the UK and Europe after finishing their degrees.
It was a very special show and inspiring to be amongst such incredibly motivated, hardworking and present creatives and performers.
Jonathan Dove’s Seven Angels was moving, beautiful, inspiring and wonderfully challenging. Directed by the eminent Sir Thomas Allen, the piece was a single act opera for three singers and harp, based on the life of Early Renaissance Italian painter, geometer and mathematician Piero della Francesca. Myself and fellow soprano Maryam Wocial performed as two angels who guide and encourage Piero (performed by countertenor Will Prior) as he ages and gradually loses his sight. Sir Thomas Allen performed within the piece as Piero observing his younger self, which was a great honour for us young performers. The production also included dancers from the Rambert School of Ballet and Contemporary dance which was amazing!
It was so special to work with Will and Maryam who, as well as being exceptionally talented performers and beautiful vocalists, were generous and incredibly present colleagues who gave 110% every rehearsal and show.
This piece really extended me musically. The soaring vocal lines, syncopation, changing time signatures and intricate, interweaving melodies of vocals and harp (performed by Catherine Reid) were challenging but incredibly beautiful and satisfying to perform.
The concept was candlelit and set in renaissance attire, which really created a very special, pensive ambiance for our audience and was a great credit to the production team.
We were quite star struck to meet composer Jonathan Dove and librettist Alasdair Middleton on opening night, who were both really lovely and generous in the time they spent chatting with us. It wasn’t lost on us how rare and special it is to be able to ask the composer and librettist of an opera about their work."
You’re about to begin the Opera Studio at the Royal College of Music. What are you most looking forward to as you head to London?
"I am absolutely delighted to be returning to the Royal College of Music to be part of their Opera Studio. I am most grateful to be able to continue studying with my incredible teacher Professor Janis Kelly, and to continue working with the Professors and coaches at the Royal College of Music - all of whom have been invaluable mentors to me throughout my Master degree. To have continued guidance from this team of passionate and driven members of the profession as I gain role experience over the next two years is invaluable. I am looking forward to working with the creative teams as we explore these productions, to perform with and create with my colleagues and to push myself in my artistic and technical capacities. I can’t wait to start! "
While you’re back in Perth, you’re performing two recitals at Kidogo Arthouse on July 24 and 25. What can audiences expect from the special evening?
"Kidogo Arthouse in Fremantle offers a beautiful and intimate venue for recital performance.
I am so excited to welcome the audience into a candlelit space filled with eclectic tables and chairs where they can sit with a drink and enjoy an evening of classical music. Myself and the beautiful pianist Lydia Lai are performing on both evenings, and we will be joined by incredible West Australian Opera principal artists Naomi Johns (24th July) and Lachlann Lawton (25th July).
The audience can expect to hear a mix of classical favourites with a background ambience of the ocean.
The doors and Kelp Bar at Kidogo will open at 6pm, the recital will start at 6:30 with an interval and the evening will conclude at 8pm."
We thank Bella for her time with us and sharing these precious stories and experiences.
We encourage you not to miss the chance to see her live at Kidogo Arthouse tonight (25 July), 6:30pm.
'SONG BY CANDLELIGHT'
Click here for tickets.
Image: Ophelia Creative
