Pretty Yende: ‘My family used to sing hymns every night after supper’

Born in the town of Piet Retief (now known as Mkhondo) in Mpumalanga province, South Africa, the soprano Pretty Yende performs in opera houses all over the world. After studying in Cape Town and then on the young artists programme at La Scala, Milan, she made a breakthrough appearance at New York’s Metropolitan Opera in 2013.

In May 2023, wearing a spectacular yellow haute couture gown and yellow and white diamonds, Yende sang Sacred Fire by the British composer Sarah Class, at the coronation of King Charles III. Later the same year the House of Dior named her as one of its global ambassadors. She will sing the title role of Handel’s Semele at the Royal Opera in a new production by Oliver Mears, opening on 30 June.

Is it true that you fell in love with opera after hearing the music for the British Airways ad – the Flower Duet from Lakmé by Léo Delibes?

Yes it is true! It was 2001. I was 16 and watching TV with my family. I heard the music behind the ad and was intrigued. My heart knew it but my head had no idea what it was. I went to my high school teacher, who was also a choirmaster, and asked what this music could be and did it have a name. The answer was opera. I had never heard that word before. The discovery was amazing! I said [to him] if someone could teach me, I could do it too. Fortunately the gift was there.

What was growing up in South Africa like? Apartheid was coming to an end…

I was a happy child. There was music all around: we used to sing hymns every night after supper as a family, with my grandmother. I had a very full life with all the things I needed. Church was a big part of it. We were comfortable as a family. My father was a businessman and my parents were really careful not to limit what we were interested in – me, my two brothers and my sister [Nombulelo, also a singer, who was a finalist in the BBC Cardiff Singer of the World competition and is a rising star on the operatic stage]. That was an incredible gift to me.

Were your parents surprised at your decision to become a professional musician?

When I told them, it was shocking [to them] but they were very supportive. They let me spread my wings into the unknown. The idea was that I would be an accountant – this was a huge shift but they were there for me.

After that initial discovery of opera, how did you become a singer?

I joined the school choir and became the first opera student in my school. Later I went to the University of Cape Town for six years and graduated with a diploma and then postgraduate studies in opera. But then I had to see if I had what it takes to make a career, so I entered many international competitions to prove to myself I was worthy. Winning them helped to encourage me.

Your big breakthrough moment was jumping in last minute as a lead-role replacement. What happened?

It was a truly amazing opportunity. I sang Adele in Rossini’s Le Comte Ory at the Metropolitan Opera in New York in 2013. I was suddenly there opposite Juan Diego Flórez [the world-class Peruvian bel canto tenor]. Not bad! That was the point my career took off.

How do you tackle learning a new role? Do you work with others or alone?

All of that. I always say I have beside me what I call #PrettysArmy – people who help me navigate a new role and revisit old roles. The voice changes, experience changes the way you perform; different music demands different voice colours. First when I’m invited by a company, I go through the score with a pianist, just playing through and getting to know it, and seeing whether it will work for my voice. That’s the start.

You are about to sing the title role in Handel’s Semele (in a production that has already been seen in Paris). Tell us about her.

It’s a fantastic work and a brilliant character – my second Handel role. When I sang in choirs in high school, I actually did all the big choruses from Semele, so I knew the music but not the main role. It’s so beautiful, the variety of expression, the orchestral writing. And I love this production by Oliver Mears. It’s updated but has also kept the spirit of the piece. It’s the first time I will sing in English to a British audience. That to me is very exciting.

But Semele is a bit of a minx too, and famously vain. (The story is of an adulterous relationship between the mortal Semele and the god Jupiter.)

That naughty side is just the best known aspect of her – she’s a human being, with human emotions. She’s real, and committed to getting what she wants, which, of course, has its consequences. I admire her love for Jupiter. Her love was true. She gave it her all. Any price for love is worthwhile.

How was it, singing at the coronation?

It was amazing. I got to meet the king, first when he was still a prince, and I sang at Windsor Castle. I know how much he really loves music – so to be trusted with such a privilege is something I treasure.

Do you have any downtime?

Absolutely. Rest is the best part of a busy career. I listen to gospel and jazz. I cook. I see friends and family. I watch movies and TV series. I’ve just finished series one of The Buccaneers [on Apple TV] and I’m waiting for series two.

For anyone unfamiliar with opera, like you as that teenager growing up in South Africa, why is the art form so  vital?

It’s the joy beyond joy. The love beyond love. It’s a culture of sharing, of collaborating. Even if I sing characters with sadness in them, or who are bad in some way, the gift is to share their story. That’s the core of Pretty’s gift: joy. It connects me with audiences all over the world.

Semele is at the Royal Opera House, London, 30 June-18 July

Photograph by Roberto Salomone/The Observer