New York Documentaries

FULL EPISODE

I Live to Sing

Three opera students from the University of Cape Town pursue singing careers in South Africa, Europe and New York.

AIRED: July 17, 2013 | 1:26:27
ABOUT THE PROGRAM
TRANSCRIPT

>> I LIVE TO SING WAS MADE

POSSIBLE BY THE GENEROUS

SUPPORT OF THE ANDREW W. MELLON

FOUNDATION, JODY AND JOHN

ARNHOLD THE

SOUTH

AFRICAN FILM

BOARD.

ADDITIONAL SUPPORT PROVIDED BY.

>> THERE IS NOT A SINGLE ASPECT

OF LIFE IN SOUTH AFRICA THAT

HAS BEEN LEFT UNTOUCHED BY THE

LEGACY OF NELSON

MANDELLA.

POLITICS AND THE

ECONOMY, OF

COURSE, BUT ALSO SPORTS,

CULTURE,

EVEN OPERA.

DURING THE ERA OF

APARTHEID,

SOUTH AFRICAN

OPERA HAD THE

INVOCATION OF ELITE.

THE SOUTH AFRICAN COLLEGE OF

MUSIC AT THE HOME OF CAPE TOWN,

HOME TO THE FINEST OPERA SCHOOL

IN THE COUNTRY WAS WHITES ONLY

FOR MOST OF THE CENTURY LONG

HISTORY.

THE APARTHEID GOVERNMENT

PROHIBITED THE SCHOOL FROM

ADMITTING BLACK STUDENTS UNLESS

THE UNIVERSITY OBTAINED A

SPECIAL

PERMIT.

BUT WITH THE

END OF APARTHEID,

AND NELSON MANDELLA'S ELECTION

AS PRESIDENT, THE OPERA SCHOOL

OPENED ITS

DOORS TO BLACK SOUTH

AFRICANS AND WHEN THE DOORS

OPENED, THE FACULTY WAS AMAZED

BY THE BREADTH WILL TALENTED

CLASSICAL SINGERS.

MANY YOUNG BLACK SINGERS HAD

BEEN TRAINED IN OPERAS IN THEIR

COMMUNITY CHOIRS, COMPETITIVE

CHORAL GROUPS THAT ARE HUGELY

POPULAR IN THE BLACK TOWNSHIPS.

OTHERS FIRST HEARD OPERA IN

TELEVISION ADS.

TODAY, THE OPERA SCHOOL IS

ABOUT TWO-THIRDS BLACK OR MIXED

RACE.

MANY OF THE BLACK STUDENTS

RECEIVE FULL SCHOLARSHIPS THAT

INCLUDE FEES FOR ROOM AND

BOARD.

AND

IN JUST A FEW SHORT YEARS,

THE SCHOOL HAS HAD ENORMOUS

SUCCESS TRAINING A NEW

GENERATION OF

INTERNATIONAL

OPERA

STARS INCLUDE

OWE RAN

KNOW

PRETTA

YEYE WHO MADE HER

DEBUT EARLIER THIS YEAR.

IT'S THE TALES OF HOFFMAN AT

CAPE TOWN'S MAIN OPERA HOUSE,

ONCE ALSO A WHITES ONLY

INSTITUTION.

WE WILL TRAVEL WITH THEM TO

COOPERSTOWN, NEW YORK, WHERE

THEY SPENT LAST SUMMER AS

APPRENTICES AT THE

ACCLAIMED

GLIMMER GLASS FESTIVAL.

THAT'S WHERE I HAD THE CHANCE

TO WORK WITH THESE GIFTED

SINGERS ON A PRODUCTION CLOSE

TO ALL OF OUR HEARTS, A

DRAMATIC MUSICAL BASED ON THE

FAMED SOUTH AFRICAN NOVEL "CRY

THE BELOVED COUNTRY."

DURING THE FILM, WE WILL ALSO

SPEND SOME TIME WITH THE FAMILY

OF ONE OF THE

STUDENTS' IN HIS

ONLY TOWNSHIP AND THEN JOURNEY

WITH THEM TO CAPE TOWN WHERE

THEY WILL SEE HIM PERFORM IN AN

OPERA FOR THE FIRST TIME.

AND WE WILL LET THESE YOUNG

PERFORMERS SHOW US IN WORDS AND

IN SONG THE POWER OF OPERA TO

PENETRATE THEIR SOULS AND

CHANGE THEIR LIVES.

>> THE FIRST TIME I HEARD

OPERA, IT WAS ON THE TELEVISION

ADVERT.

THEY

WERE ADVERTISING THE SHELL

PETROL AND THEN THERE WAS THIS

HORSE THAT WAS RUNNING NEXT TO

THE BEACH AND THEN THEY PLAYED

THIS BEAUTIFUL MUSIC.

>> THE VOICE WAS A

SOPRANO.

IT FELT LIKE SOMETHING SILKY.

I

PICTURED THIS BEAUTIFUL LADY

WITH LONG HAIR AND BIG EYES.

>> BLACK OR WHITE?

>> WHITE, OF COURSE.

I NEVER PICTURED A BLACK PERSON

DOING OPERA.

>> WE WANT THE TITLE FOR THIS

FILM TO BE IN XHOSA, AS WELL AS

ENGLISH, AND WE'RE TRYING TO

PIGGURETRYING

FIGURE OUT TRANSLATION FOR "I

LIVE TO

SING."

INTERNET TRANSLATOR CAME UP

WITH

THIS.

NDILALA

UKUCULA.

>> NDILALA, IT'S LIKE, I SLEEP.

I DON'T KNOW HOW YOU CAME UP

WITH THAT ONE.

I LIVE

TO

SING WILL BE

NDIPHILELA

UKUCULA.

I LIVE TO SING.

THAT WOULD MAKE A NICE TITLE.

I LIKE IT!

YEAH.

>> HE IS THESELE.

>> AND WHEN THESELE AND HIS

BROTHERS AND SISTERS WERE BORN

AND WERE LITTLE CHILDREN, WHAT

WERE YOUR HOPES AND DREAMS FOR

THEM?

>> WELL, OKAY.

OKAY.

MY FIRST HOPE, I WAS HOPING TO

HAVE FOUR BOYS AND TWO

GIRLS.

BUT THEY CAME TO WORK OUT VICE

VERSA.

I AM --

>> YEAH.

>> I WAS REALLY HOPING THAT

THEY MUST

BE HIGHLY EDUCATED.

DURING THE TIME OF APARTHEID,

IT WAS DIFFICULT BECAUSE

THEY

COULD NOT ATTEND ANY WHITE

UNIVERSITY.

THAT IS WHY I ALWAYS TELL ALL

MY

CHILDREN THAT

SINCE WE ARE

IN NEW ENVIRONMENT, PLEASE

DEVOTE YOURSELF TO

STUDIES AND

FOR BETTER LIFE.

FOR HIM, HE WAS INTERESTED IN

MUSIC.

>> BUT I MUST CONFESS THAT I

WAS NOT TOO HAPPY BECAUSE FOR

ME, MUSIC, I THOUGHT, IT WAS

JUST A

HOBBY.

I DON'T THINK HE CAN REALLY

MAKE LIFE OUT OF IT.

I

WANTED SOMETHING PROFESSIONAL

WHERE HE WOULD ASK FOR A JOB

AND BE EMPLOYED AND SAY, MY SON

IS

EMPLOYED.

>> AND SIT IN THE OFFICE.

>> AND SIT IN THE OFFICE, YES,

WITH A TIE LIKE

MYSELF.

>> AND THESELE, DID YOUR FATHER

MAKE THOSE CONCERNS CLEAR TO

YOU?

>> YEP.

HE ACTUALLY MADE THEM QUITE

CLEAR.

BUT THEN, AGAIN, I MEAN, THE

DREAM

WAS MINE.

>> I CAME TO THE UNIVERSITY OF

CAPE TOWN IN

2006.

IT FELT EXCITING.

WITH US, OUR CULTURE, IT'S A

BIG THING IF YOU GO TO A

UNIVERSITY.

>> AND ONE AND TWO.

LA GRASSE.

>> THE RIGHT TO MUSIC, I FEEL,

IS A FUNDAMENTAL HUMAN RIGHT.

WE ALL HAVE A RIGHT TO HAVE A

CHANCE TO MAKE MUSIC.

>> AND GO.

>> THE APARTHEID ERA GOVERNMENT

FUNDED OPERA QUITE LAVISHLY, TO

PROVE HOW EUROPEAN SOUTH

AFRICAN WAS.

SO HERE I AM, TRYING TO DO

OPERA TO PROVE HOW SOUTH

AFRICAN

OPERA

IS.

>> THE BASIC AESTHETIC FOR

CHORAL SINGING, THE KIND OF

SINGING, ESPECIALLY THE

PEOPLE

WHO

SPEAK SOTHO,

OR

XHOSA, THE

KIND OF SINGING THAT HAPPENS IN

THEIR CHOIRS IS VERY DIRECT

STEP INTO THE

OPERATIC

LITERATURE.

>> THE COMMUNITY CHOIRS GREW

OUT OF MISSIONARIES AND THE

TEACHINGS

OF ENGLISH HYMNITY.

THEY HAD COMPETITIONS EVEN BACK

DURING THE ERA OF

APARTHEID.

>> IN THOSE DAYS, ANY BLACK

STUDENT WHO WANTED TO COME TO

UCT HAD TO HAVE A PERMIT.

THEY HAD COULD APPLY TO UCT BUT

THEN UCT HAD TO GO THROUGH THE

HOOPS OF APPLYING FOR

PARTICULAR PERMITS.

UCT CHANGED VERY RADICALLY IN

THE PERIOD AFTER POLITICAL

CHANGE IN SOUTH AFRICA.

I REMEMBER VERY CLEARLY ONE

YOUNG MAN ARRIVED AND HE WANTED

TO AUDITION FOR THE OPERA

SCHOOL, AND HE AND HE WAS A YOUNG

BLACK GENTLEMAN AND HE OPENED

HIS MOUTH AND

SING...

DI PROVENZA.

AND I QUITE FRANKLY, I HADN'T

HEARD ANY KIND OF AUDITION WITH

THAT KIND OF TALENT AND MATURE

VOICE.

>> BACK IN THE '70s, '80s,

BEFORE THAT, WHAT WERE THE MAIN

AREAS OF SOUTH SOUTH SOUTH

AFRICA THAT THE

STUDENTS WOULD COME FROM.

>> RONDEBOSCH, BISHOP'S COURT,

CAMP'S BAY, BELLEVILLE,

DURBANVILLE, STOLEN BOSCH.

>> AND WHAT ABOUT TODAY?

>> WELL, THEY COME FROM ALL

OVER THE SHOW, BUT MOST OF THE

STUDENTS COME FROM KHAYELITSHA

AND LANGA.

>> THIS IS MY HOME,

KHAYELITSHA.

IT'S WHERE I GREW UP.

I LIVED HERE FOR, LIKE, MY

WHOLE ENTIRE LIFE.

MY FAMILY, WE GREW UP VERY

CLOSE BECAUSE MY MOTHER WAS SO

STRICT.

IT WAS EVEN HARD TO GO OUTSIDE

WITHOUT HER PERMISSION.

BASICALLY LIFE WAS NORMAL.

WE GREW UP AS NORMAL KID.

USED TO PLAY OUTSIDE WITH

BALLS.

I WAS VERY FAMILIAR WITH THE

GAME OF CARDS, BUT MY MOM

DIDN'T LIKE THOSE, BECAUSE SHE

THOUGHT OF IT WAS THE GAMBLING

GAMES.

OH, AND THEN I STARTED SINGING.

I WAS GIVEN A SOLO SONG IN

PRIMARY, AND I WAS SO SCARED

BECAUSE I NEVER -- I HAVE NEVER

STOOD THERE ALL ALONE AND SING

IN FRONT OF THE

AUDIENCE.

BUT MY MOTHER WAS THERE TO

SUPPORT ME.

HUSHABYE MY TINY

BABY ♪

HUSHABYE BY LITTLE

BABY ♪

♪ HUSHABY

E MY NEWBORN KING

>> WE USED TO HAVE THESE

COMMUNITY CHOIR THAT I STARTED

SINGING

TO.

I STARTED TO ENTER

COMPETITIONS.

PEOPLE WERE TALKING ABOUT THIS

COLLEGE OF

MUSIC IN SOUTH

AFRICA, IN CAPE TOWN.

WHEN I HEARD THE UCT COLLEGE OF

MUSIC TOOK ME, I WAS SCREAMING

MY LUNGS OUT.

>> HAD OTHER MEMBERS OF YOUR

FAMILY GONE TO

UNIVERSITY?

>> NO

>> WAS THAT SOMETHING THAT CAME

SUDDENLY OR --

>> YEAH, WELL, SHE WAS SICK,

BUT THEN THE FUNNY PART IS THAT

I WASN'T HERE WHEN SHE WAS

SICK, SICK, SICK.

♪ MOTHER MARY WATCHES OVER

YOU ♪♪

>> I COULDN'T UNDERSTAND WHY IT

HAD TO HAPPEN WHEN IT'S

MY

FIRST YEAR AT UNIVERSITY, AND

MY FIRST YEAR AWAY FROM HOME.

SO AT SOME POINT, I WANTED TO

JUST QUIT AND GO HOME, BUT

BECAUSE OF THE SUPPORT I GOT

FROM MY

FAMILY, I MADE IT

THROUGH.

>> I LEARNED THE MUSIC FIRST

AND THEN THE WORDS.

>> ON TOP, I WOULD HAVE TO

WRITE THE

ENGLISH

TRANSLATION

AND MY OWN

LANGUAGE, MY SOTHO.

EVEN THOUGH WE SPEAK ENGLISH

VERY WELL, WE

DON'T NECESSARILY

EXPRESS

OURSELVES PHYSICALLY AS

WELL IN

ENGLISH.

IT

SAYS YOU WON'T SING ANY MORE

AND THEN IN

SOTHO.

I WOULD WRITE,

HAU SO HA BINA

HOHA.

>> I DO THE PRONUNCIATION AND

THEN

I TRANSLATE.

SO, FOR

INSTANCE THIS

WORD,

IT'S EASY TO MAKE IT

PREMIERIA,

BUT AS SOON AS YOU DO IT, IT'S

WRONG.

IT'S VIEWED TO BE A DETESTABLE

THING TO BE THAT WRONG IN

OPERA.

BUT I'M ALWAYS THINKING ABOUT

HOW I'M GOING TO PORTRAY THE

ROLE.

>> NATHANIEL IS JUST A STUDENT

AND IN THE PROLOGUE, HE IS ONE

OF THE PEOPLE IN THE BAR.

>> SO IS HE KIND OF LIKE A

PARTY GUY?

>> WELL, HE'S A STUDENT.

SO I'M ASSUMING HE IS A PARTY

GUY.

[ LAUGHTER ]

>> AND DO YOU FEEL EQUIPPED TO

TAKE ON THAT ROLE AS THE

STUDENT PARTY GUY?

>> I THINK I'M QUITE EQUIPPED.

[ LAUGHTER ]

>> HOW GOOD ARE YOU WITH

SELF-DISCIPLINE AND DOING THE

WORK YOU NEED TO DO WHEN YOU

NEED TO?

[ LAUGHTER ]

>> I THINK UNIVERSITY IS A

PLACE THAT CAN BE VERY

DISTRACTING, YOU KNOW, BECAUSE

69

OF THE

FAST-PACED PARTY

LIFESTYLE.

>> YES.

THAT'S RIGHT.

ABSOLUTELY.

>> UM, E.

>> WHAT IS IT LIKE PLAYING A

BAD GUY?

>> I ENJOY EVERY CHALLENGE OF A

DIFFERENT CHARACTER.

>> I LOVE TO ACT.

I LOVE WATCHING MOVIES.

>> I CAN SAY I STEAL FROM

ROBERT DeNIRO.

>> OKAY.

>> SAY IT TO ME IN ENGLISH.

YOUR MOTHER.

>> YOUR MOTHER.

>> DO YOU DARE TO INVOKE HER?

>> DO YOU DARE TO INVOKE HER?

>> YOUR MOTHER.

>> STRETCH OUT MOTHER LONGER.

>> YOUR

MOOTHER.

>> CHECK OUT THE

AU.

>> I'M THINKING YOUR

MOOOTHEEER.

>> YOU ARE PRAISING HER

SINGING, TO BUILD HER UP.

THERE IS JOY.

JOY IS BEING ON STAGE AND

SINGING, ANTONIA.

>> WHAT MADE YOU CHOOSE

LINDA

FOR THE ROLE OF ANTONIA?

>> THE QUALITY OF THE TOP PART

OF HER VOICE AND THE EXCITEMENT

OF IT IS WHAT THAT PART IS ALL

ABOUT.

♪THAT'S A VERY BIG ROLE AND SHE

SINGS THE FIRST ARIA FROM IT

EXQUISITELY AND I NEVER WORKED

ON ANY 69 REST OF THE PART WITH

HER.

>> LINDA HAD TO MISS A SESSION

TODAY THAT I WAS SORRY FOR HER

TO

MISS, BECAUSE PRETTY VIOLENT

SORE THROAT

SYMPTOMS SHE WAS

DESCRIBING.

AND SHE WENT TO THE DOCTOR AND

DIAGNOSED IT AS A FORM OF

PNEUMONIA.

TWO YEARS AGO, LINDA WAS VERY

SICK AND SHE HAD TUBERCULOSIS

AND SHE DIDN'T MISS LECTURES

FOR TOO LONG OF A PERIOD.

SHE DID THE TREATMENT AND

RECOVERED QUITE WELL, BUT I

ALWAYS KEEP AN EYE OUT FOR HER

HEALTH.

I'M QUITE SURE THAT SHE GREW UP

WITHOUT ACCESS TO THE SAME

LEVEL OF HEALTHCARE THAT MOST

OF

MY STUDENTS IF I WERE

TEACHING IN THE NORTHERN

HEMISPHERE CONSERVE STORY CONSERVATORY WOULD

HAVE HAD.

WHEN I WAS INTERVIEWED FOR THE

JOB, SOMEONE ASKED ME A

QUESTION ABOUT THE IMPORTANCE

OF OPERA IN A THIRD WORLD

COUNTRY.

OPERA HAS A REPUTATION,

ESPECIALLY IN SOUTH AFRICA, IT

SEEMS SO WASTEFUL, BUT IT

ANSWERS A NEED THAT MY STUDENTS

FEEL THAT NO OTHER ART FORM IS

EVER GOING

TO ANSWER.

>> THE FIRST TIME I HEARD

OPERA, AS IT WAS PAVAROTTI, AND

HE MESMERIZED ME.

>> WHEN I'M SINGING, I FEEL

LIKE A

DIFFERENT PERSON.

>> I ACTUALLY FEEL LIKE I CAN'T

LIVE WITHOUT IT.

>> OPERA DOES MEAN OTHER THINGS

IN OTHER PARTS OF THE WORLD.

HERE IT HAS A POTENTIAL TO

CHANGE LIVES AND I THINK

LASTING CHANGE TENDS TO

COME

ONE LIFE AT A TIME.

>> I GREW UP IN DIFFICULTY.

I GREW UP IN POVERTY.

THERE WAS A TIME WHERE MY MOM

AND DAD BOTH DIDN'T WORK BUT

THEY TRIED TO MAKE SURE THAT

THERE WAS SOMETHING ON THE

TABLE FOR US TO EAT.

>> I'M KEMANE.

I'M THE FOUNDATION OF THIS

HOUSE.

>> APARTHEID.

AND AFRAID THAT HAS BEEN

MISUNDERSTOOD SO OFTEN.

IT COULD JUST AS

EASILY AND

PERHAPS MUCH BETTER BE

DESCRIBED AS A POLICY OF GOOD

NEIGHBORLINESS.

>> DURING THE TIME OF

APARTHEID, THE SOUTH AFRICAN

ARMY

WAS TOUGH

AND AGAINST

ANYBODY THEY USED TO THROW

CANISTERS, TEAR GAS HERE.

CHILDREN WERE CRYING AND

EVERYTHING.

>> IN 1963, NELSON MANDELLA WAS

ARRESTED AND WAS SENT TO ROBBEN

ISLAND.

>> AFTER 27 YEARS IN SOUTH

AFRICAN JAILS, NELSON MANDELLA

IS A FREE MAN.

>> I DIDN'T BELIEVE THAT, THAT

THE TIME WILL COME.

>> MR. NELSON MANDELLA, A FREE

MAN, TAKING HIS FIRST STEPS

INTO A NEW SOUTH AFRICA.

>> BUT THAT

DAY CAME.

>> WHAT DID IT FEEL LIKE TO GO

AND PLACE YOUR VOTE IN A

NATIONAL ELECTION AFTER SO MANY

YEARS?

>> WE REALIZED THAT AFTER A

LONG TIME, GOD HAS HEARD OUR

PRAYERS.

>> THE TIME FOR THE HEALING THE

WOUNDS HAS COME.

WE ENTER INTO A

COVENANT THAT

WHICH WILL BUILD THE SOCIETY

IN

WHICH ALL SOUTH AFRICANS, BOTH

BLACK AND WHITE WILL BE ABLE TO

WALK TALL WITHOUT ANY FEAR IN

THEIR HEARTS.

>> HE HIT THE NAIL ON THE HEAD.

>> THESELE, HOW MUCH DOES YOUR

FATHER

TALK TO YOU ABOUT THIS

KIND OF THING?

>> YOU KNOW THERE WAS A GLIMPSE

OF IT, WHERE HE WOULD SOMETIMES

TALK ABOUT IT AS FAR AS I CAN

REMEMBER

BUT IT WASN'T A THING

THAT WE DO VERY OFTEN, BECAUSE,

I

MEAN, I DON'T SO MUCH LIKE TO

BE INVOLVED INTO POLITICS.

>> YESTERDAY I WAS TELLING HIM

THAT 7:00 IS TIME FOR NEWS.

WE MUST SIT ALL AROUND AND

WATCH 9 NEWS.

AND THEY ALL SCATTERED AND LEFT

ME ALONE.

SO I REALIZED THAT

HE'S REALLY

NOT A POLITICIAN OR POLITICAL

SPIRIT.

>> I DIDN'T KNOW WHAT IS HE

GOING TO DO WITH MUSIC?

>> I WANTED HIM TO JOIN POLICE

FORCE OR TO BE A TEACHER.

>> HE WANTED TO GO TO CAPE TOWN

WHERE I WAS NOT EVEN

INTERESTED.

I DIDN'T WANT HIM TO GO THERE.

>> WHY NOT?

>> I FELT GOING TO CAPE TOWN

FOR ME, IS A PLACE WHICH I

DON'T KNOW.

I DON'T EVEN KNOW

THE DIRECTION

WHERE TO GO TO IF I'M GOING TO

CAPE TOWN.

I WAS STRUGGLING.

I WAS STRUGGLING.

MY STRUGGLING.

I DIDN'T HAVE MONEY BY THEN.

I DIDN'T KNOW WHAT TO

DO.

BUT I PLANNED TO GIVE HIM A

LITTLE BIT OF MONEY TO JUST --

FOR TRANSPORT.

A WOMAN IS TRYING ALWAYS TO SEE

THE CHILD GOING FORWARD.

>> YOU ARE AFRAID FOR HIM TO BE

ON A PLANE?

>> I WAS AFRAID.

>> AS SOON AS WE GOT THE NEWS,

WE ARE ON OUR WAY TO U.S., I

WAS SO EXCITED.

>> JUST TO BE

ABLE TO GO TO THE

U.S. AND SAY I'M WORKING WITH A

PROFESSIONAL COMPANY ABROAD WAS

ALREADY A GREAT STEP FOR ME.

BUT WHEN WE

GOT THERE, IT WAS

MORE THAN WE EVER EXPECTED.

>> WE LIVE IN A BETTER PLACE

THAN SHANTYTOWN.

>> WHEN?

>> WHEN I COME BACK.

>> ARE YOU GOING AWAY?

>> YES.

>> BUT NOT FROM YOU.

>> WE DESPERATELY WANTED TO

BRING AT LEAST A GROUP OF YOUNG

ARTISTS FROM SOUTH AFRICA.

IT'S ABOUT

THEM.

IT'S SET

IN JOHANNESSBURG AND

CAPE

TOWN AND NATAL.

>> IT IS FOCUSED ON

YOU.

>> IT'S SHANTYTOWN.

>> NEXT TIME YOU SAY

SHANTYTOWN, YOU SHOULD MAKE IT

SOUND AS IF IT'S [ BLEEP ] IT

NEEDS TO BE JUST AWFUL.

>> SHANTYTOWN WITH BUGS AND

CHILDREN.

>> IT CONNECTS WITH ME, I DON'T

KNOW, SHALL I SAY, AS A BLACK

PERSON BECAUSE I COME AWAY FROM

A PLACE WHERE STUFF LIKE THAT

DO HAPPEN.

>> WE DON'T HAVE TO BREAK INTO

THE HOUSE, I TELL YOU.

>> HE NEVER LOCKS HIS DOORS DAY

OR NIGHT.

>> THEN WHY DO WE NEED A GUN

WHEN WE GO THERE.

>> NOBODY KNOWS WHEN THEY ARE

GOING TO NEED A GUN.

YOU GOT

A GUN.

SO BRING IT.

>> WHAT WAS IT LIKE

BEING CAST

AS

ABSOLON.

>> A DREAM COME TRUE.

>> I THANK YOU MY FATHER.

>> I GOT TO WORK WITH SOME OF

THE

GREATEST MUSICIANS IN THE

WORLD, ERIC OWENS.

WE GOT TO EXPLOIT HIS TALENTED

QUITE A LOT.

>> EVEN THOUGH THERE'S GOOD AND

EVIL IN THIS WORLD.

I REACH WHAT IS GOOD.

>> A FEEL AS THOUGH THERE'S

STILL A LOT TO BE SAID ABOUT

WHAT HAPPENED IN APARTHEID.

IT'S A STORY THAT REALLY NEEDS

TO BE SHARED.

>> WHAT YEAR WERE YOU BORN?

>> I WAS BORN IN 1991.

>> SO VERY NEAR THE END.

>> VERY NEAR THE END OF

APARTHEID.

ALTHOUGH, YOU STILL HAVE A LOT

OF UNDERLYING -- UNDERLYING

THINGS IN THE STORY THAT KIND

OF MAKE YOU THINK OF CERTAIN

SITUATIONS THAT ARE UNDERLYING

IN SOUTH AFRICA

STILL.

>> JUSTICE IS WHEN THE BLACK

MAN DIGS AND THE WHITE MAN

CARRIES HIS BRIEFCASE.

JUSTICE IS WHEN THE BLACK WOMAN

COOKS AND THE WHITE WOMAN HAS

BREAKFAST IN BED.

>> IF YOU LOOK AT THE FACT THAT

APARTHEID BASICALLY HAPPENED IN

AMERICA WITH THE BLACKS AND THE

WHITES, APARTHEID BASICALLY

HAPPENED IN GERMANY WITH 9 JEWS

AND THE GERMANS.

- WITH THE JEWS AND THE

GERMANS.

AND ANYBODY CAN UNDERSTAND WHAT

YOU ARE TALKING, ABOUT YOU

KNOW?

>> LOST IN THE STARS.

IT'S MOST OF THE TIME

SAID, BUT

THERE WERE TIMES WHEN IT WAS

HAPPY.

>> FULL OF DANCING AND HAPPY

MOVES AND JUST JOY.

>> CAN YOU

IMAGINE EVER

PERFORMING THE RUTABEGA NUMBER

THAT CRYSTAL SINGS?

COULD YOU SEE YOURSELF

DOING?

>> NO.

>> SORT OF COME TO HER.

DRAW YOURSELF TO HER ON YOUR

KNEES LIKE --

>> CRYSTAL.

>> WHAT MADE ME LIKE CRYSTAL A

LOT IS THE FACT THAT SHE'S A

VERY STRONG FOCUSED WOMAN.

♪ WHO WILL BUY MY ORANGES AND

MELONS ♪

>> AND WHAT ABOUT DANCING WITH

HER.

>> I ENJOYED DANCING WITH HER.

I ENJOY THAT A LOT, BECAUSE,

YOU KNOW --

BANANAS,

BANANA ♪

♪ BUY MY ♪

>> I'M NOT SURE IF I COULD DO

THE ARIA.

>> I'M NOT THAT KIND OF PERSON.

I'M KIND OF IN AN EGG

SHELL.

>> I WILL TAKE THEM.

I WILL TAKE

THEM ALL.

>> SOLD!

>> WHEN I WORK -- WHEN I WORK,

I WORK ALONE, PEOPLE

STOP AND

STARE AT MY BEAUTY FROM HEAD TO

TOE.

>> WHAT DO YOU WANT AT THE

BEGINNING OF THIS ARIA?

WHAT DO YOU WANT TO DO?

>> AT THE

BEGINNING OF THE

ARIA, I'M

TRYING TO

MAKE

MARCELLO JEALOUS, NOTICE ME.

>> DEBBIE SAID, DO YOU KNOW THE

STORY OF THE ARIA?

>> AND THEN A RIVER OF DESIRE

FLOWS THROUGH ME.

>> OR DO YOU KNOW THE

CHARACTER?

>> SHE'S

TOTALLY DIFFERENT

FROM -- FROM LINDA.

>> THE WONDER THAT SHE FEELS,

THE DESIRE SHE FEELS, HOW SEXY

SHE FEELS.

>> SHE'S OUT THERE.

SHE OWNS THE WORLD.

SHE'S NOT SHY, LINDA.

SHE'S JUST SINGING WITH A

PRETTY VOICE BUT THEN I DIDN'T

PUT MY BODY ON IT.

>> STOP, STOP.

>> OKAY.

>> SHE COULD SEE WHEN I'M

FAKING IT AND THEN SHE WOULD BE

LIKE, NO.

>> HOW DID THAT FEEL?

>> I'M STILL GET USED TO THE...

>> SHE WANTED TO WORK MORE ON

THE PHYSICAL

AND FLIRTY.

>> FROM NOW

>> I FEEL STRONGLY THAT'S WHAT

AN OPERA SINGER NEEDS TO BE.

YOU CANNOT CONVINCE ANYONE ELSE

THAT THEY SHOULD PAY YOU TO

STAND UP ON THAT STAGE AND MAKE

THOSE SOUNDS UNTIL YOU ARE

CONVINCED THAT YOU ARE WORTH IT

AND UNTIL YOU ARE CONVINCED

THAT EVERYONE SHOULD BE LOOKING

AT YOU, NOT AT SOMEONE ELSE, AT

YOU.

>> TODAY'S CELEBRATION OF

PRESIDENT MANDELLA'S 94th

94th BIRTHDAY TAKES PLACE IN

NEW YORK WHERE MANDELLA WAS

GRANTED THE HONOR OF THE

FREEDOM OF THE CITY.

>> I FELT IT WAS AN

AUSPICIOUS

OCCASION.

DID YOU SEE ANY POSTURE WHEN I

WALKED IN?

IT WAS

A DECENT ELEGANT

POSTURE.

>> I NEVER THOUGHT THAT I COULD

EVER

BE HERE

BEFORE, IT WAS AN

UNBELIEVABLE

MOMENT TO STAND

AND SING.

IT WAS JUST AN UNBELIEVABLE

MOMENT FOR ME.

UNBELIEVABLE!

[ APPLAUSE ]

>> THE FIRST DAY WE OPENED, MY

HEART WAS RACING.

I FELT THE PRESSURE OF THE

AUDIENCE.

>> I LOVE YOU IRINA.

I WANT TO YOU HAVE SOMETHING

BETTER THAN THAT.

>> I HAVE HAD SOME SHOWS WHERE

I HAVE COMPLETELY COME TO TEARS

AS WELL

BECAUSE YOU HAVE TO

REALLY PUT YOURSELF INTO THE

ROLES.

>> I SENTENCE YOU TO BE HANGED

UNTIL YOU ARE DEAD.

>> I'M AFRAID OF THE ROPE AND

THE

HANGING.

>> TO ME, HE HAS BECOME

ABSALOM

KUMALO.

I WOULD BE HARD PRESSED TO

THINK OF ANYONE WOULD NOT BE

MOVED OR ENGAGED BY HIS

PERFORMANCE.

>> THE SOUTH AFRICANS BROUGHT A

WONDERFUL, WONDERFUL FEELING

AND INFUSED THE WORK WITH SUCH

DRAMATIC POWER.

♪ GOLD, GOLD, YOU GET A LITTLE

GOLD ♪♪

>> I IMAGINE YOU SAW THE

MENTION OF YOURSELF IN THE "NEW

YORK TIMES."

>> YES, I DID!

[ LAUGHTER ]

I DID, YES, AND I WAS VERY

HAPPY ABOUT THAT.

IT'S A VERY BIG ACHIEVEMENT.

>> DID YOU TELL YOUR FAMILY

ABOUT THAT?

>> YEAH, EVERYBODY KNOWS.

[ LAUGHTER ]

>> I'M HOPING WHEN I GET HOME,

WE'LL HAVE

A CHANCE TO CONTINUE

WHAT WE'VE LEARNED HERE, STEP

OUT OF YOUR COMFORT ZONE AND

JUST DO WHAT YOU LOVE.

>> WE DIDN'T KNOW THAT MOST

PEOPLE HERE IN AMERICA

APPRECIATE AFRICAN MUSIC AND TO

THEM, IT'S SOMETHING

TOTALLY

DIFFERENT FROM THEIRS.

>> I ENJOYED MY DANCE

AND MY

SONG,

OMO CUMWANA.

I DID ALL OF IT, MY CRAZY DANCE

STUFF.

WE WERE SINGING THE

TSWANA AND

SWANAA.

I WENT ON YOUTUBE TO SEARCH TO

SEE HOW

TO DO THETRADITIONAL

FELL BEING DANCE.

- TO DO THE TRADITIONAL FOLK

DANCE.

AND THE PEOPLE LIKED IT.

THEY WERE LIKE, AH, YOU CAN

DANCE.

I'M LIKE, NO, I CANNOT DANCE.

I COPIED THAT, BUT I DIDN'T SAY

THAT.

>> MY NAME IS

MAKUDUPANYANE

SENOANA.

AND THE NEXT THEME WE ARE GOING

TO

PRESENT TO YOU IS

A DRINKING

SONG.

THIS IS CALLED

OTOMBOTE.

CAN ANYONE IN HERE

SAY

OTOMBOTE?

[ LAUGHTER ]

OKAY.

>> WE ALSO NOTICED A FAMILIAR

PART

IN IT.

HEIMAWEE.

>> YEAH.

>> IT DOES RELATE A LOT TO 9 --

WHAT'S THE SONG "IN THE

JUNGLE" ♪

♪ THE JUNGLE, THE MIGHTY

JUNGLE ♪

>> IN THE JUNGLE WHERE THE LION

SLEEPS TONIGHT ♪♪

♪ IN THE JUNGLE, THE MIGHTY

JUNGLE, THE LION

SLEEPS

TONIGHT ♪

♪ IN THE

JUNGLE, THE QUIET

JUNGLE, THE LION

SLEEPS

TONIGHT ♪

>> DO YOU KNOW WHAT THE

DIRECTOR MEANS WHEN HE SAYS,

LOOK FOR YOUR LIGHTS.

>> JUST LOOK AT THOSE.

>> THE OTHER SIDE OF

THE BOOK.

THAT'S

WHAT I WOULD LIKE YOU TO

BE.

>> I WAS

ASKED BY KAMAL KHAN TO

DIRECT THIS PRODUCTION OF

HOFFMAN AND KNOWING THE KINDS

OF JOYCES THAT COME FROM

9U --

VOICES THAT COME FROM THE UCT

OPERA SCHOOL AND THE STUDIO, I

HAD NO DOUBT I WOULD ENJOY

DOING A

PRODUCTION FOR THEM.

>> CAN WE GO FROM...

>> MY FAMILY TELLS ME THAT I

WAS SINGING OPERA WHEN I WAS

ABOUT 3 YEARS OLD AND WE LOVED

IN MILANO IN THOSE DAYS.

I WAS ITALIAN.

I

CAME TO SOUTH AFRICA WHEN I

WAS 6 AND A HALF.

IT IS A PLEASANT ENOUGH

COUNTRY.

LOTS OF SUNSHINE.

THE PEOPLE ARE GREAT, BUT

I

FOUND THE POLITICS

ABOMINABLE.

I SANG FOR SOMETHING LIKE 15

YEARS.

THE OPERA HOUSE THEN WAS A HUGE

BUILDING, WHICH WAS CREATED BY

GOVERNMENT FUNDING AND IT WAS

VERY EXPENSIVE.

IT WAS VERY HUGE AND ONE HOPED

THAT THIS WOULD BECOME A

CULTURAL CENTER FOR CAPE TOWN.

>> THIS THEATER WAS OPENED IN

1971, AS A WHITES

ONLY SPACE.

THIS GORGEOUS LINCOLN

CENTER-ESQUE BUILDING THAT THE

MAJORITY OF THE POPULATION OF

SOUTH AFRICA COULD NOT

GO INTO.

>> I SUPPOSE THERE MUST HAVE

BEEN A CERTAIN PROPORTION OF

GOVERNMENT SUPPORTERS WHO FELT

THIS WAS THE RIGHT DECISION,

BUT

THE

DECISION THAT WAS

PREDOMINANT IN THE PRESS WAS

ONE THAT TRIED TO OPEN THE

THEATER, BOTH TO MIXED

AUDIENCES AND TO MIXED

PERFORMERS.

>> HOW BIG OF A DEAL WAS THE

CONTROVERSY?

>> IT WAS A VERY BIG DEAL.

>> IMMEDIATELY, THE GOVERNMENT

HAD MADE THE STATEMENT.

SOMEBODY SAID, OOPS.

NO, WE DIDN'T REALLY MEAN IT.

WE ARE GOING TO OPEN IT TO ALL

RACES.

AND THEN, OF COURSE, BY THE

TIME IT OPENED, IT WAS

OFFICIALLY OPENED TO ALL RACES

AND NOBODY WANTED TO GO.

>> WERE THERE YEARS WHEN IT WAS

ALL WHITE, THOUGH?

>> NO.

>> I WAS PRETTY SURE THAT THERE

WERE ACTUALLY A FEW YEARS OF IT

BEING AN ALL WHITE --

>> WELL, PERHAPS YOU WILL JUST

CUT IT.

I WAS -- PERHAPS IT'S JUST

WISHFUL THINKING

ON MY PART.

>> WHAT

WAS THE THOUGHT FOR

ARTISTS SUCH AS

YOURSELF ABOUT

9 OPTIONS OF

WORKING WITHIN THE

SYSTEM, VERSUS JUST LEAVING THE

COUNTRY?

>> WELL, WHAT CAN I SAY?

IT WAS A DECISION ONE HAD TO

CONFRONT WITH ONE'S OWN

PERSONAL BELIEFS AND ONE'S OWN

SOUL.

I FELT THAT IF EVERYBODY WAS

SIMPLY TO REFUSE TO PARTICIPATE

AND

GO AWAY, WOULD THIS BE, IN

FACT, THE MOST

EFFECTIVE WAY OF

CREATING

OPPORTUNITIES FOR

SOUTH AFRICANS OF DIFFERENT

RACES TO FIND THEIR WAY ON TO

THAT STAGE?

>> DO YOU KNOW ANYTHING ABOUT

THE HISTORY OF THIS OPERA

HOUSE?

>> THIS OPERA HOUSE?

>> YEAH.

>> ARE YOU AWARE AT ALL OF THE

HISTORY OF THIS OPERA HOUSE?

>> NO.

BUT I THINK I WILL HAVE TO

LEARN MORE ABOUT IT.

I WILL HAVE TO DO MY HOMEWORK

SO THAT WHEN SOMEONE ASKS ME

THAT QUESTION AGAIN I CAN

ANSWER WITH CONFIDENCE.

>> IF ONE LOOKED ON THE STAGE

AT A SHOW THAT I'M DOING,

BETWEEN 50% AND TWO-THIRDS OF

THE LEADING ROLES YOU WILL

NOTICE ARE

FILLED

BY YOUNG

BLACK FRIENDANS AND THEN YOU

WILL SEE SMALLER PERCENTAGES

ARE YOUNG WHITE SOUTH AFRICA

SINGERS.

>> VASTI

KNOESEN IS A REALLY

EXTRAORDINARY YOUNG LYRIC

MEZZO.

VASTI IS IN THE CHORE US FOR

TALES OF

HOFFMAN.

>> MAUDEE MONTIERRE IS QUITE A

YOUNG

COLORATURA

SOPRANO.

SHE GRADUATED IN 2012, AND SHE

IS NOW STUDYING AT GUILDHALL

SCHOOL OF MUSIC, WHICH I WOULD

SAY IS LONDON'S MORE OR LESS,

EQUIVALENT OF JUILLIARD.

MAUDEE CAME BACK TO DO TALES OF

HOFFMAN.

>> MAUDEE IS A

PHENOMENAL

A

TALENT, ANY HUE OF THE RAINBOW

I'VE GOT.

>> THE FIRST TIME I HEARD

OPERA, I WAS 5.

MIGRAINE WAS

MY GRAN WAS

PLAYING

AN

L.P.

>> I ACTUALLY LOVED CHOIR

SINGING.

I PLAYED SAXOPHONE.

I ONLY FELL IN LOVE WITH OPERA

THREE YEARS AGO.

>> DID YOU ANTICIPATE THAT

GOING

INTO OPERA SO MANY OF

YOUR COLLEAGUES AND CLASSMATES

WOULD BE BLACK?

>> HAD I DON'T ACTUALLY THINK

SOMETHING --

>> IT'S NOT SOMETHING YOU

ACTUALLY THINK ABOUT.

>> MAYBE IT OLDER PEOPLE, OLDER

THAN 50 OR SO WOULD STILL THINK

ABOUT IT.

>> BUT IT'S LIKE WE ARE THE NEW

GENERATION.

>> YOU UNDERSTAND A LOT OF

PEOPLE OUTSIDE OF THIS COUNTRY

WOULD BE SURPRISED BY THAT?

>> MM-HMM.

>> I DON'T KNOW WHAT THE ISSUE

REALLY WOULD BE.

WHAT WOULD THE ISSUE SOMEBODY.

>> WOULD BE.

>> THEY MARKET IT.

WE ARE MOVING ON FROM THAT AND

IT'S LIKE THERE'S NO

BOUNDARIES.

I MEAN, WHY SHOULD YOU

DISCRIMINATE AGAINST SOMEONE

WHO HAS GOT A DIFFERENT SKIN

COLOR THAN YOU?

IT'S STUPID.

>> AND HAS AN AMAZING VOICE.

>> YEAH.

>> THIS IS MY FIRST BIG ROLE.

THE CHARACTER, SHE

IS 20 AND

SHE -- HER MOTHER JUST DIED.

SHE WAS A FAMOUS SINGER.

I THINK SHE FOLLOWED HER MOM

FOOT BECAUSE SHE KNEW HER MOM

WAS A FAMOUS SINGER AND SO SHE

ALSO WANTED TO BE THIS FAMOUS

YOUNG SINGER BUT THEN HER

FATHER IS REFUSING FOR HER TO

SING BECAUSE THE MOMENT SHE

SINGS, SHE WILL DIE.

APPARENTLY MOTHER HAD THE SAME

DISEASE.

SHE SANG TOO MUCH AND THEN SHE

DIED AND THEN SHE PASSED THE

DISEASE TO THE

DAUGHTER.

BUT THEN ANTONIA IS ENJOYING

THE FEELING OF SINGING.

THE MOMENT SHE GOT THE CHANCE

TO SING, SHE SANG HER LUNGS

OUT.

>> CAN YOU RELATE TO THE

CHARACTER AND HER

STORY?

>> I THINK SO, IN A WAY.

BECAUSE I ALSO LOVE

SINGING AND

ALSO THE FACT THAT SHE DOESN'T

HAVE A MOTHER.

I CAN RELATE WELL ON THAT ONE

BECAUSE THE FIRST AIRIA, THE

FIRST APPEARANCE ON HER,

SHE'S

SINGING

"ELLE A

FUI."

>> YES.

>> AND THINKING OF THE MOTHER

AND FEELING SAD AND LONELY AND

DEPRESSED AND SOMETIMES

THAT

HOW I NORMALLY FEEL.

>> TELL ME A LITTLE BIT ABOUT

KAMAL.

>> KAMAL KHAN, I ALWAYS LOVE TO

COACH WITH HIM BECAUSE HE KNOWS

SO, SO, SO MUCH.

>> DON'T CHANGE THE ALIGNMENT

OF YOUR HEAD.

YOU WERE IN THE SPOT.

THE HEAD THE SAME ALIGNMENT.

>> HE UNDERSTAND THE SITUATION

BACK AT HOME.

HE -- HE PREFERS TO

JUST KNOW

YOU SLOWLY ON THE INSIDE AND

THE OUT.

>> SHE'S HAD REALLY AN ABNORMAL

AMOUNT OF TRAGEDY IN THE PAST

THREE OR FOUR YEARS, BOTH HER

MOTHER AND HER FATHER HAVE

PASSED.

AND THEN WHEN SHE WAS ILL, THAT

CERTAINLY DIDN'T HELP BUILD HER

CONFIDENCE.

>> I WAS DIAGNOSED WITH T.B.

AND THEN I TOLD HIM.

HE WAS SO, SO, SO, SO

SUPPORTIVE.

EVERY DAY, HE WAS CHECKING UP

ON ME, HOW ARE YOU?

HOW IS IT?

ARE YOU TAKING MEDS?

ARE YOU EATING ENOUGH?

ARE YOU, YOU KNOW -- DO YOU

NEED ANYTHING?

DO YOU NEED MONEY FOR FOOD?

DO YOU NEED MONEY FOR MEDS?

THAT'S THE KIND OF GUY HE IS.

HE DOESN'T ONLY CARE ABOUT YOUR

VOICE OR HOW YOU SING.

I WANT TO MAKE YOU A BIG STAR.

HE ALSO CARES ABOUT LINDA.

>> PART OF WHAT SHOWS YOU THAT

SOMEONE IS GOING TO BE AN

IMPORTANT SINGING IS WHEN THEY

ARE IN THE DEEP END AND AFTER

THEY HAVE ALLOWED A LOT OF

WATER TO GET INTO THEIR MOUTHS

THEY START TO SWIM.

>> I KNOW SHE WILL MAKE IT.

SHE'S

DEFINITELY DEVELOPING

INTO 9 ANTONIA

THE ANTONIA I KNEW SHE

WOULD BE.

>> SHE IN AN INTANGIBLE WAY IS

LEARNING HOW TO SEE HERSELF AS

THE CENTER OF ATTENTION.

I NEVER HESITATE TO REMIND HER

THAT SHE'S WORTH BEING THE

CENTER OF ATTENTION.

>> YOU TOLD US EARLIER THAT

OPERA MUSIC FULFILLS A NEED FOR

SOME OF YOUR STUDENTS THAT NO

OTHER ART FORM EVER WOULD.

IS THAT TRUE FOR YOURSELF AS

WELL?

>> ABSOLUTELY.

>> I WAS INNED IN

INTERESTED IN

CONDUCTING IN MY CHILDHOOD.

MY GRANDMOTHER SAID I WOULD

PICK UP 9Y

THE KNITTING NEEDLE AND

CONDUCT.

I WAS BORN IN WASHINGTON, D.C.,

AND MY

FATHER CAME FROM SOUTH

AFRICA.

AND HE WENT TO COLUMBIA

UNIVERSITY.

I STUDIED

PIANO AND VIOLIN AND

I PRACTICED WHAT I WAS SUPPOSED

TO PRACTICE BUT IT WAS ALWAYS

TO SIT DOWN AND PLAY OPERA

SCORES.

THIS MUSIC SPEAKS MY LANGUAGE.

IT SPEAKS MY

LANGUAGE.

AND MY STUDENTS CAN TELL THAT

IT SPEAKS THEIR LANGUAGE IN THE

SAME WAY.

WE'VE GOT A LOT OF RECENT UCT

GRADS DOING SOME VERY EXCITING

FIRST STEPS IN

THEIR CAREER.

SONNY BOY

DLADLA AT ZURICH, AND

MUSA

NQWANAXX, WHO IS AT THE

ACADEMY OF VOCAL ARTS IN

PHILADELPHIA.

>> PRETTY YENDE IS A RECENT UCT

GRAD WHO HAS MOVED DIRECTLY

FROM BEING A STUDENT AT

UCT

INTO ENTERING THE APPRENTICE

PROGRAM AT

TEATRO LaSCALA IN

MILANO AND SHE'S MOVED FROM

THAT DIRECTLY INTO SINGING

PRINCIPAL ROLES ON THE MAIN

STAGE AT MILANO AND THAT IS NOT

THE WAY ANYTHING USUALLY

WORKS.

>> I WOULDN'T HAVE BEEN HERE IF

IT WASN'T FOR UCT, LEARNING THE

FRENCH AND MAKING I KNOW WHO I

AM

AS A COUNTESS.

THOSE WERE THE THINGS THAT WERE

BASIC TOOLS.

A GOLDEN SECT, YOU KNOW.

AND THIS IS WHAT ANGLO GOBBATO

GAVE ME, HAS PREPARED ME TO BE

WHERE I AM TODAY.

SO I'M REALLY, REALLY

GRATEFUL.

>> HOW BIG OF AN EMOTIONAL

IMPACT GOOD SHE HAVE ON YOUR

CURRENT STUDENTS.

>> SHE HAS A HUGE EMOTIONAL

IMPACT ON

THEM.

>> I STILL DO FOLLOW PRETTY

YENDE.

I SURELY WANT TO SEE MYSELF

SINGING WITH PRETTY

YENDE ON

THE STAGE TOGETHER.

>> I HOPE SHE'S NOT YET

DECIDED

TO LEAVE SOUTH AFRICA.

I EVEN WENT AS FAR AS

TO

PROTEST TO HIS FORMER TEACHER.

HE SAID TO ME, NO, NO, NO, HE

HAS THE RIGHT TO CHOOSE WHAT

HE

FEELS LIKE.

YOU CANNOT SAY, HEY, FOLLOW

THIS.

DON'T FOLLOW

THIS.

SO I WAS FIGHTING A BATTLE THAT

I DON'T

WIN.

I

HAVE GIVEN UP AND GAVE HIM A

GREEN LIGHT THAT HE MUST DEVOTE

HIMSELF TO OPERA MUSIC, BUT NOT

FORGETTING THAT HE'S VERY SOON

TO MARRY AND I HAVE TO PAY

LABOLA.

I HAVE TO HAVE MONEY TO PAY

THAT

LABOLA.

HOW HE WILL TACKLE IT, I DON'T

KNOW, BUT I WILL BE WATCHING.

>> DO YOU HAVE THOUGHTS ON WHO

HE SHOULD BE HAVING IN MIND?

>> NOT AT ALL,

BECAUSE HE'S A

DISTANCE FROM ME IN CAPE TOWN,

BUT CAPE TOWN IS A

XHOSA

AREA

AND COLOREDS AND WHITES.

I DON'T KNOW WHICH ONE HE WILL

CHOOSE BUT IF IT IS WHITE,

I'LL

WELCOME IT AND THERE'S NO

LABOLA TO PAY.

>> YOU SAID YOU ARE PRETTY MUCH

OKAY WITH WHATEVER RACE HE

CHOOSES.

IS THAT A -- WOULD THAT BE THE

COMMON ATTITUDE OF YOUR

NEIGHBORS?

>> THAT'S -- NO, NO, NO, NO.

I

WON'T EVEN MIND, WORRY ABOUT

THE NEIGHBORS.

I WORRY ABOUT

OURSELVES, THE

KEMANE FAMILY.

>> TEMPLE OF ISRAEL, I SING FOR

THEM FOR THE HIGH HOLY

DAYS AS

THEIR CANTOR.

I HAVE BEEN SINGING THIS FOR

THREE YEARS NOW.

THEY ACTUALLY

TAUGHT ME HOW TO

SING IN HEBREW.

>> WE WERE LOOKING FOR A

SOLOIST TO DO THE PIECE AND HE

WAS RECOMMENDED.

THESELE'S IS

THE BEST RENDITION

I HAVE HEARD, IN MY HUMBLE

OPINION.

>> IT HAS BEEN A QUITE A GOOD

EXPERIENCE.

I LIKE THE -- YOU KNOW, THE

SHOFAR, THE BLOWING OF THE HORN

AND THEN THE FIRST DAY OF THE

HIGH HOLY

DAYS, YOU HAVE

APPLE

WITH HONEY.

I LIKE THAT.

IT'S DIFFERENT FROM WHAT I KNOW

FROM MY OWN ROMAN CATHOLIC

CHURCH, BUT THERE ARE

SIMILARITIES HERE AND THERE.

I

>> I GO CHURCH AND I SAY PRAISE

GOD.

AND THEY COME TO CHURCH AND

THEY PRAISE GOD.

WE PRAISE THE SAME PERSON.

IT'S JUST A DIFFERENT CHURCH.

>> A TENTH VICTIM WAS FOUND

HACKED TO DEATH ON TUESDAY.

ON SUNDAY, SECURITY OFFICERS

WERE BURNED ALIVE TRYING TO

PROTECT MINE PROPERTY.

>> WHERE IS THE PRESIDENT OF

THIS COUNTRY?

THE COUNTRY IS BURNING.

>> SURELY OUR PRESIDENT CARES

MORE ABOUT THE YOUNG

UNEMPLOYED

PEOPLE OF SOUTH AFRICA THAN HE

DOES ABOUT 9 VESTED INTERESTS

AND ABOUT HIS REELECTION

PROSPECTS.

>> I'M NOT INTO POLITICS.

THESE PEOPLE, THEY PROMISE YOU

THE SAME THING OVER AND OVER

AGAIN, BUT YOU GET THE SAME

RESULTS.

LOOK WHAT'S HAPPENING NOW.

THERE ARE ELECTIONS NEXT

YEAR.

AND IT'S ONLY NOW

THAT YOU SEE

THE ROADS BEING PAVED.

IT'S ONLY NOW THAT YOU SEE

TOILETS FOR THE PEOPLE WHO LIVE

IN THE TOWNSHIPS.

>> I'M VERY INTERESTED IN

POLITICS.

AFRICAN

LEADERS' INTERACTION

WITH THE EUROPEAN LEADERS AND

THINGS LIKE THAT AND THE

RESULTING

EFFECT IN THE

UNDERDEVELOPMENT OF AFRICA.

>> ARE YOU INTERESTED IN

POLITICS AT

ALL?

>> NO.

NOT AT ALL.

AM I BAD?

>> YOU ARE NOT BAD.

>> DO YOU VOTE?

>> YES.

YES, I DO VOTE.

>> DO I?

>> VOTE?

>> I NEVER EVEN VOTE.

I NEVER VOTE.

I FEEL LIKE IT'S JUST A WASTE

OF TIME.

>> IS THAT A SOURCE OF TENSION

WITH YOUR DAD?

>> NO.

HE DOESN'T KNOW THAT I DON'T

VOTE.

>> IN 1963, MANDELLA WAS

ARRESTED

>> SO LADIES AND GENTLEMEN, I

WOULD LIKE TO WELCOME ALL OF

YOU TO ROBBEN ISLAND.

>> IT WAS JUST A REVELATION TO

SEE WHERE NELSON MANDELLA AND

OTHER PRISONERS STAYED FOR SUCH

LONG PERIODS OF THEIR

LIVES.

>> FOR ME, IT WAS JUST

INTERESTING TO SEE HOW SMALL

THE CELL WAS.

LIKE, I LIVED IN A CELL THAT

WAS LITERALLY SMALLER THAN MOST

PEOPLE'S

BATHROOMS.

TO HAVE SOMEBODY WHO COMES OUT

OF A PLACE LIKE THAT AND HAS --

AND HAS SUCH -- SUCH PEACE IN

WOW!

IT'S AMAZING.

>> YEAH, I LEARNED SOMETHING.

I LEARNED MORE THAN WHAT I USED

TO KNOW BEFORE.

YES, I AM A

CHILD OF THAT

ERA,

BUT IT'S JUST THAT I APPRECIATE

WHAT NELSON MANDELLA AND THE

OTHERS WENT THROUGH.

THE WORLD WOULD PROBABLY BE A

DIFFERENT PLACE IF IT

WASN'T

BECAUSE OF THEIR HARD WORK.

MUCH APPRECIATED.

>> HAVE YOUR PARENTS EVER SEEN

YOU PERFORM IN AN OPERA?

>> THEY HAVE NEVER SEEN ME

PERFORM IN AN OPERA.

>> I WOULD LIKE TO SEE HIM.

I WOULD LIKE TO SEE HIM AT THE

THEATER.

>> SURELY -- SURELY I WOULD

LIKE TO SIT IN FRONT OF HIM AND

LISTEN PROPERLY.

>> STOP WORRYING AND DOWN.

YEAH.

[ LAUGHTER ]

>> WHERE IS THE UNIVERSITY

FROM --

>> THERE YOU CAN SEE THE

UNIVERSITY OF CAPE TOWN RIGHT

THERE.

STRAIGHT.

THOSE RED ROOFS.

>> ALL RIGHT.

>> OKAY.

>> THIS IS MY

SCHOOL.

THE SOUTH AFRICAN COLLEGE OF

MUSIC, UCT.

>> THIS

ONE?

>> YEAH.

THIS IS WHERE I DO ALL THE

OPERA STUDIES.

ALL OF MY EXERCISES.

I DO THEM HERE.

>> DO YOU REMEMBER WHEN YOU

WANTED ME TO BUY YOU A

PIANO,

WHICH I COULDN'T?

>> WAS I STILL YOUNG?

>> YEAH.

[ LAUGHTER ]

>> HOW,

MOMMA.

>> SO WHY DIDN'T YOU GET THE

PIANO FOR ME?

>> I COULDN'T AFFORD FOR YOU.

>> WE HAVE A BLACK VOICE

TEACHER IN THIS SCHOOL.

>> OH,.

>> MY THE NAME MR. PATRICK

TIKOLO.

>> OKAY.

>> PATRICK TIKOLO.

SO THIS IS WHERE WE PRACTICE

BEFORE WE GO TO THE THEATER.

>> YES.

>> NOW I BELIEVE I AM IN CAPE

TOWN BECAUSE AT THE CAPE TOWN

UNIVERSITY, BECAUSE I HAVE SEEN

SOME THAT I NEVER THOUGHT I'LL

SEE.

>> SO REMEMBER I WAS TELLING

YOU ABOUT MR. PATRICK TIKOLO?

>> YES.

>> THIS IS MR. PATRICK TIKOLO.

>> OH.

9THE TEACHER.

>> THE TEACHER.

>> NICE TO MEET YOU, SIR.

>> NICE TO MEET YOU.

>> HE'S A HARD WORKER.

>> OH, IS THAT SO?

>> YES.

>> IF YOU SAY SO, THEN I WILL

BELIEVE IT BECAUSE YOU ARE THE

TEACHER.

>> YOU KNOW, BACK IN OUR

COMMUNITIES, PEOPLE, IF YOU

SING,

YOU GO TO STUDY MUSIC,

THEY THINK, WHAT ARE YOU GOING

TO DO THAT?

WE NEED YOU TO DO WORK

>> I ENJOY HAVING EVERYBODY

AROUND ME, THAT WE HAVE SUCH A

BIG MIX OF SUCH A

GREAT MIX OF

CULTURES IN SOUTH AFRICA.

[ LAUGHTER ]

>> HOW MANY OF YOU WANT TO

LEAVE SOUTH AFRICA TO PURSUE

YOUR OPERA CAREERS?

>> MANY PEOPLE.

>> ALL OF US.

[ LAUGHTER ]

>> WE KIND OF BECOME EACH

OTHER'S FAMILIES IN A WAY.

ESPECIALLY REHEARSING FOR OTT.

ARE

AS.

>> -- FOR THE OPERAS.

>> ENGLISH, AFRICAN, CROSSING

THOSE

BOUNDARIES.

>> YES.

>> HE'S ONE OF MY BEST FRIENDS.

>> ALL TOGETHER.

>> I MEAN, WITH SOME PEOPLE, IT

TAKES MORE TIME, BUT IT -- I

DON'T THINK IT'S ABOUT A COLOR

ISSUE.

IT'S MORE ABOUT LIKE YOUR

CULTURES.

HOW YOU WERE BROUGHT UP.

>> WE WERE INTERESTED TO HEAR

YOU AND YOUR COLLEAGUES ALL

SAYING THAT RIIS ISN'T AN

ISSUE

HERE.

IS THAT REALLY TRUE?

>> I THINK ON THE SURFACE, WHEN

WE ARE ALL TOGETHER IN ONE

ROOM, IT ISN'T REALLY AN ISSUE,

BUT I THINK THERE'S

STILL A

DEEP

UNDERLYING -- UNDERLYING

LAYER OF

BIAS BETWEEN 9

GENERATIONS.

I STILL THINK SOME IN CERTAIN

RACES THINK THEY ARE MORE

SUPERIOR AND AS THE BLACK

PEOPLE COME UP, THEY ALSO ARE

STARTING TO THINK THAT THEY ARE

MORE SUPERIOR.

>> I DON'T SEE COLOR ANYMORE.

>> I THINK IT'S MORE LIKE

TRADITION, FAMILY --

>> YES, THAT'S WHERE YOU FEEL

IT.

>> IT'S WHERE YOU COME FROM.

IT'S NOT ABOUT THE COLOR, YOU

KNOW?

>> THAT'S YOUR MODERN VIEW IN

YOUR 20s.

HOW ABOUT YOUR

PARENTS,

GRANDPARENTS, COMMUNITIES?

>> UM, MY PARENTS ARE COOL.

>> YEAH, WELL, OBVIOUSLY

THERE'S 9 QUESTION -- THE

APARTHEID, BUT THAT'S BEEN,

LIKE, TWO GENERATIONS -- WELL,

A GENERATION BACK.

>> YEAH.

LIKE, WE DON'T EVEN, LIKE,

SPEAK ABOUT

APARTHEID.

NO.

>> IT'S LIKE THE HITLER.

PEOPLE DON'T REALLY SPEAK ABOUT

IT

ANYMORE.

IT IS NONEXISTENT ACTUALLY.

>> NOTHING CHANGES IN ONE OR

TWO GENERATIONS.

ALL CHANGES OVER -- OVER A LONG

PERIOD OF TIME, AND I THINK

IT'S GOING TO TAKE A WHILE

BEFORE IT'S COMPLETELY CHANGED

IN SOUTH AFRICA.

>> DO YOU FEEL

A CONNECTION

BETWEEN THE STRUGGLE TO END

APARTHEID AND YOUR OWN LIFE?

>> NO.

YOUNGER PEOPLE OF MY GENERATION

AREN'T REALLY CONNECTED TO THAT

BECAUSE WE WEREN'T A PART OF

IT.

SO A LOT LOT OF US HAVE MOVED

FORWARD FROM IT.

>> DO YOU THINK IT'S A GOOD

THING OR A BAD THING?

>> I THINK IT'S AN ABSOLUTELY

BAD THING BECAUSE WE HAVE

FORGOTTEN THE PEOPLE THAT WERE

PIVOTAL AND IMPORTANT AND THE

REASONS WHY THEY ARE IN

IMPORTANT, AND THE REASONS WHY

9 SAME MISTRAYS SHOULD NEVER

BE -- THE SAME MISTAKES SHOULD

NEVER BE MADE AGAIN.

BUT THAT'S THE WAY IT ALWAYS

WORKS, RIGHT?

>> ARE YOU LOOKING FORWARD TO

SEEING THESELE'S OPERA TONIGHT?

>> YES, MA'AM, I'M LOOKING

FORWARD.

I COULDN'T HAVE COME IF I

WASN'T INTERESTED.

SO I AM LOOKING FORWARD TO

SEE

WHAT IS HE ACTUALLY DOING WITH

THE OPERA.

>> AND WHAT DO YOU EXPECT?

>> I UNDERSTAND THAT HE IS A

FIRE

HIMSELF!

AND I EXPECT HIM TO FIRE IN MY

PRESENCE THIS TIME.

>> AND THESELE, ARE YOU READY

TO FIRE?

>> I'M READY TO FIRE, YES.

[ LAUGHTER ]

>> YOU KNOW, I'M SOMEONE WHO

ALWAYS WHEN I LIKE A THING, AND

I FEEL HAPPY.

I

NORMALLY

UYULATE.

THAT IS

UYULATING?

>> CAN I UYULATE WHEN YOU SING?

>> NO, YOU CANNOT MOM.

THEY TAKE THIS ONE VERY

SERIOUSLY.

>> ARE YOU NERVOUS.

>> I AM.

>> I LIKE TO LISTEN TO POP

MUSIC.

WHEN I COME TO REHEARSAL, I

WANT TO LIVE OPERA ON MY STAGE

AND I WANT TO LISTEN TO

SOMETHING THAT MY MIND ASK

BREATHE.

>> LIKE WHAT?

>> LIKE ADELE.

♪ I DON'T KNOW WHY I'M SCARED

BECAUSE I HAVE BEEN HERE

BEFORE ♪

♪ EVERY FEELING,

EVERY WORD, I

HAVE DONE IT ALL ♪

YOU NEVER KNOW ♪

♪ YOU NEVER --

>> THIS COULD BE MY CHANCE TO

SHOW THEM WHAT

I

HAVE.

♪ LET ME BE YOURS ♪

♪ YOUR ONE

AND ONLY ♪

>> JUST BEFORE I START SINGING,

MY MIND IS COMPLETELY CLEAR.

I HAVE KIND OF GOTTEN USED TO

JUST LETTING GO.

I FIGURED NERVES DON'T REALLY

HELP MUCH.

>> I'M ALWAYS NERVOUS.

I HAVE TO BE.

I HAVE TO GET MYSELF ENERGIZED

AND FOCUSED ON THE WORK I'VE

GOT TO DO.

>> MY PARENTS.

I JUST WANT TO SEE THEIR

REACTION.

I WILL TRY TO LOOK WHERE THEY

WILL BE SITTING WHEN I'M ON

STAGE SINGING.

>> LADIES AND GENTLEMEN, THIS

IS YOUR FIVE-MINUTE CALL.

FIVE MINUTES.

[ APPLAUSE ]

>> I FEEL LIKE I'M THE

CHARACTER THAT I AM PORTRAYING.

I FEEL LIKE I'M THE STUDENT WHO

IS JUST BEING RUCKUS IN THE

BAR.

[ APPLAUSE ]

[ CHEERS AND APPLAUSE ]

>> WHEN I WAS

CHEERING THESELE,

IT'S A TRIBAL PRAISE.

IT MEANS OH, YOU ARE PLEASING

ME, MY SON.

I'M HAPPY ABOUT IT.

I'M PROUD ABOUT IT.

[ CHEERS AND APPLAUSE ]

>> WHERE MIGHT WE EXPECT TO

FIND

MAKUDUPANYANE IN FIVE

YEARS FROM NOW.

>> I HOPE YOU WILL FIND ME

SOMEWHERE IN EUROPE MAKING A

NAME FOR MYSELF, SLOWLY BUT

SURELY CLIMBING THE LADDER OF

OPERA.

[ CHEERS ]

>> I WILL PROBABLY BE IN THE

UNITED STATES, BUT I ALSO WANT

TO GO AUDITION IN PLACES LIKE

LONDON AND, YOU KNOW, EUROPE.

>> I WANT TO WORK

SO THAT MY

PARENTS CAN BE THE CHILDREN AND

I CAN BE THE PARENT.

>> YOU WERE ON FIRE!

YOU ARE

ON FIRE.

>> HE WAS ON FIRE.

>> YOU WERE ON FIRE.

>> WHERE WOULD YOU THINK WE

WOULD SEE YOU FIVE YEARS FROM

NOW?

>> 9 MET.

- THE MET.

I FEEL LIKE ONE DAY I WILL BE

ABLE TO -- TO SING FOR YOU TO

SEND THE

MESSAGE OF -- OF BEING

A GIRL WOULD GREW UP IN THE

TOWNSHIP AND THEN MADE IT TO

THE MET IN NEW YORK.

>> ONE DAY, IT WILL COME TRUE.

I KNOW.

I AM

AN

AFRIKAAN ♪

♪ I OWE MY BEING TO THE HILLS

AND THE

VALLEYS ♪♪

>> I LIKE IT.

I WOULD LIKE TO HAVE A WHOLE

CAMERA CREW FOLLOWING ME AROUND

EVERYWHERE I GO.

[ LAUGHTER ]

>> I'M TAKING A PICTURE OF YOU

AS YOU ARE TAKING A PICTURE OF

ME.

>> YOU ARE GOING BACK?

>> YES, LET'S GO.

>> CAN I HAVE THAT BACK?

>> CHEERS!

WE WILL BE SEEING YOU LATER ON.

THANK YOU.

I KNOW

THAT THEY CHALLENGE

ME ♪

WHEN I SAY I AM AN

AFRIKAAN ♪

♪ I AM AN

AFRIKKAN ♪♪

>> "I LIVE TO SING" WAS MADE

POSSIBLE BY

THE GENEROUS

SUPPORT OF:

ADDITIONAL SUPPORT PROVIDED BY:

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