Broadway Rhapsody at Opera Holland Park: Q&A

1. Broadway Rhapsody celebrates the Golden Age of American musical theatre. What was your first introduction to this music, and what made you fall in love with it?

Anush: Growing up, I was surrounded by classical music, but Broadway found me quite naturally through recordings and films. What captivated me immediately was the extraordinary quality of the writing (I think it was My Fair Lady I saw first). These weren’t simply popular songs – they were beautifully crafted melodies by composers such as Gershwin, Rodgers, Porter and Kern, who had an exceptional understanding of harmony, orchestration and dramatic storytelling. The more I explored this repertoire, the more I realised how closely it speaks the language of opera. That discovery became the starting point for Broadway Rhapsody.

Sam: I grew up on stage in Scarborough surrounded by many different genres of music. For me, the appeal of the Broadway songwriters and orchestrators was their ability to bring so many different musical traditions together. You can see elements of opera and operetta, jazz and blues, as well as themes from great literature all in one place: I found that totally captivating.

I also remember seeing amateur productions of shows like Oklahoma! and Annie Get Your Gun, which were pivotal in inspiring my love, as well as watching Hollywood musicals on the TV. Being able to express yourself through this music in many ways – be it singing, playing the piano, tap dancing, conducting, and all the rest – meant I never tired of it.

2. You both come from very different musical backgrounds. What has been the most exciting part of bringing opera, jazz and Broadway styles together in this concert?

Anush: The exciting discovery has been that these worlds are much closer than people often imagine. Sam and I come from different musical traditions, but we share the same artistic values: storytelling, musical integrity and curiosity. Rather than trying to make opera sound like jazz or jazz sound like opera, we’ve allowed each style to retain its identity while finding the common ground between them. That’s where something genuinely new has emerged.

Sam: The wonderful thing about this period of musical theatre is that the composers were writing for a wide range of singers. From the brassiness of Ethel Merman to the operatic might of Ezio Pinza, and the jazz warmth of Pearl Bailey to the crystalline clarity of Julie Andrews, the tapestry of vocal textures was richly woven. Therefore, this music is the natural meeting point for our two different vocal styles and something we’ve enjoyed exploring in recitals at the Royal Opera House and beyond.

3. With so much to choose from, how did you choose the song list for the evening?

Anush: We didn’t approach it as a list of favourite songs. We built the programme as an emotional and musical journey. Every piece has earned its place because it contributes to the narrative of the evening. We wanted to reveal the extraordinary richness of the Golden Age of Broadway – from intimate, lyrical moments to sweeping symphonic climaxes – and to show audiences just how sophisticated and beautifully written this music really is.

Sam:  We wanted this concert to be a snapshot of an era in Manhattan’s history. It was important to include classics that everyone knows and loves, alongside lesser-known gems waiting to be discovered on the evening. There are so many beautifully crafted solos, duets, and instrumentals to choose from in this catalogue. It was a tough task leaving certain things out, but I’m thrilled by what we’ve come up with.

One thing which had to be in there was George Gershwin’s Rhapsody in Blue. Although not from a musical, the piece is emblematic of a pivotal moment in American musical history and significant enough to have inspired the title of the concert!

4. If you could travel back in time to see one original Broadway production, which would it be and why?

Anush: Without hesitation, Porgy and Bess. It occupies this fascinating space between opera, jazz and musical theatre, which is exactly where Broadway Rhapsody lives. Gershwin created something completely unique, and I would love to experience the excitement of hearing that remarkable work when audiences encountered it for the very first time.

Sam: West Side Story. Leonard Bernstein’s genius changed the game in 1957.

5. This concert features classics from Gershwin, Rodgers, Bernstein, Porter and Kern. Is there one song in the programme that holds a special personal meaning for you?

Anush: For me, it has to be Bali Ha’i from South Pacific. When Sam first suggested it, I was immediately drawn to it. After nearly ten years of performing together, he knows my voice incredibly well and has a wonderful instinct for repertoire that brings out colours I may not have discovered on my own. He’s been enormously encouraging and supportive throughout my exploration of this repertoire.

What fascinates me about Bali Ha’i is that, from a performer’s perspective, it isn’t really any different from one of the great operatic arias. It demands exactly the same technical discipline, the same control of the vocal line, and above all the same emotional sincerity and honesty in storytelling. If you take away the labels of “opera” and “musical theatre”, you’re simply left with exceptional music that deserves to be performed with the same care and artistic integrity. I think Bali Ha’i captures beautifully what Broadway Rhapsody is all about.

Sam: Jerome Kern was called “The Father of Broadway”, and for good reason: he was an enormous influence on all the other songwriters you mentioned. I keep coming back to ‘The Folks Who Live on the Hill’ and most of the time, I daren’t leave it out of any programme.

Oscar Hammerstein’s lyrics paint a picture of a couple’s entire lifetime within one song, perfectly adorning Kern’s melody. It’s very special.

6. Given your differing backgrounds, what unique skills from your careers do you bring to Broadway Rhapsody?

Anush: Opera has taught me to think in long musical and dramatic arcs – to tell stories through text, colour and emotion. Performing some of the great operatic heroines has given me a deep understanding of character and the emotional journey that music can take an audience on.

Broadway Rhapsody has also allowed me to step into a new role as a producer. This is my first large-scale independent production, so alongside performing, I’ve been shaping the artistic vision from its earliest conception – bringing together the creative team, developing the programme, building the audience and leading the project from the ground up. It’s given me a completely new perspective on what it takes to bring an ambitious artistic idea to life, and it has been one of the most rewarding experiences of my career.

Sam brings an extraordinary breadth of musicianship. He’s an exceptional singer and pianist, but also the creative force behind the new orchestral arrangements. His understanding of jazz harmony, rhythm and orchestral colour has transformed familiar songs into something entirely fresh while remaining faithful to the spirit of the originals.

Together, I think we complement each other beautifully. We come from different musical traditions, but we share the same artistic vision: to reveal Broadway through the lens of opera and jazz, returning this extraordinary repertoire to the musical richness and scale it deserves.

Sam: Although our musical upbringings were different, we’re both classically trained singers and that shared technique underpins everything we do. Anush brings the very best of the dramatic world of opera and infuses the characters of these songs with great life. My lifelong exploration of this repertoire as a singer, pianist, and conductor, sees this concert unite all three. Variety was everywhere within the Golden Age of Broadway and that’s what we intend to present through this concert.

7. Opera Holland Park offers a magical open-air setting. How does performing under the stars change the atmosphere compared with a traditional indoor theatre or concert hall?

Anush: Opera Holland Park is one of London’s most magical venues. There’s something very special about performing as the light begins to fade and the evening settles over the theatre. Nature becomes part of the performance. It creates an atmosphere that feels both intimate and expansive at the same time, and I can’t think of a more beautiful setting for music that celebrates joy, romance and storytelling.

Sam: Magical is the right word. There is something truly magical about the atmosphere of a long summer Sunday evening in one of London’s great parks. It’s a setting that will certainly inspire us as we perform and something I hope will be fun for audiences who are used to seeing us behind proscenium arches.

8. Many of these songs have become part of popular culture. What do you think makes the music of Broadway’s Golden Age continue to resonate with audiences today?

Anush: Because they’re simply brilliantly written. Great melodies never lose their power, and these composers understood how to combine unforgettable tunes with genuine emotional depth. I also think we’ve sometimes forgotten just how sophisticated this repertoire is. Much of it was originally written with classically trained singers and full orchestras in mind, and hearing it in that context allows audiences to rediscover colours and details that are often overlooked today.

Sam: The lyrics endure to this day because their themes are timeless; the melodies linger on because they’re so hummable. Whether you’re nine or ninety-nine, the stories told by these songs find a way of resonating deeply. That’s why ever since Frank Sinatra and Nelson Riddle reimagined many of these songs in the 1950s, singers and orchestrators of every subsequent generation have been inspired to do the same.

9. For audiences coming to Opera Holland Park on 26 July, what do you hope they will be feeling as they leave at the end of the evening?

Anush: Above all, I hope they’ll leave with a sense of joy. But I also hope they’ll hear Broadway differently. If someone walks away thinking, “I never realised this music could sound like that,” then we’ve achieved exactly what we set out to do. I’d love people to rediscover these familiar songs with fresh ears and perhaps leave with a new appreciation of the extraordinary craftsmanship behind them.

Sam: Joy. These shows were written during times of great strife – most prominently the Great Depression, World War II, and the Cold War. The escape they gave was like a tonic for contemporary audiences, but the level of quality inherent in their crafting means they still stand as truly great works of art. It’s that electric combination of levity and depth that I hope ensures our audience leaves on a high.

10. What advice would you give to a young person who might see you perform and want to follow in your footsteps to a career on stage?

Anush: I’d say never stop being curious. Train as thoroughly as you can, respect your craft and always strive for the highest artistic standards, but don’t allow yourself to be confined by labels or genres. Some of the most exciting work happens where different musical worlds meet. If you remain open, keep learning and stay true to your own artistic voice, you’ll continue to grow -not just as a performer, but as an artist.

Sam: The greatest piece of advice I ever received was from Tony Bennett. In essence: be yourself and the sky’s the limit.