Verisimo presents FILMPROV: Talia Fuchs, vocalist

Talia Fuchs is a singer and theatre artist with a passion for interdisciplinary live performance. A classically trained vocalist and performer, she has performed in productions with Opera McGill and the McGill Savoy Society. Equally at home in choir and concert work, she has sung with Schulich Singers of McGill University, St. Matthias Anglican Church, The Brooklyn Youth Chorus in New York City as both and ensemble member and a soloist. Constantly seeking to expand her knowledge, recently, she participated in workshops with Bernard Hiller (acting), Meredith Monk (voice/movement), and is working with composer Zara Ali on a piece for Winter 2019. She holds a Bachelor of Music from McGill University where she studied with Tracy Smith Bessette and Dominique Labelle and continues to train at the House of Actors with Vanessa Rancourt.

Are you originally from Montreal? If not what brought you here?

I’m not! I moved here to attend McGill University.

Do you come from a musical family?

I wouldn’t say my family is unusually musical: My dad sang in a church choir, and my mom sang me to sleep. But, I was lucky enough to grow up surrounded by music because of my dad’s career as a stagehand, working mostly on musicals.

Is there a particular composition or composer that is a favorite of yours?

Margaret Bonds is a beautiful composer, her work has been making a well-deserved resurgence recently. A friend introduced me to her song cycle Three Dream Portraits a few years ago and I’m still in obsessed with it.

Have you always been interested in new music and improvisation?

Growing up, I was lucky enough to be a member of a professional children’s choir in New York where we sang mostly new music by living composers and commissioned pieces. In some ways, contemporary music is where I feel the most comfortable– they were my first gigs! Improvisation When I started university I found myself drawn to systems of musicianship beyond the traditional classical cannon. I began improvising as part of my vocal warm ups to better link my technique and my creativity. I was simultaneously forging friendships with jazz musicians, and from them I learned that improvisation was something I could actually do as a performer outside of the practice room.

What is something about improvisation that you enjoy? I love that I can use knowledge from all places in my musical vocabulary. The freedom to mix techniques or sounds from different traditions in order to create a unique sound world is freeing, and also really satisfying.

Do you have any advice for young, aspiring musicians?

Practice makes permanent, not perfect! This applies to technique of course, but also your thoughts surrounding how you value your art. So be kind to yourself!

Do you have any crazy or strange performance/gig stories? Care to share it?

I was in an opera with a comedic scene at a buffet table. One night a chorus member was holding a plate, placed a fake pineapple on it, and the middle of the plate totally collapsed. The pineapple then rolled completely down stage, and by that time the chorus had to exit. My character was on stage for the next scene, and I was a “servant” character, so fortunately it made sense for me to pick up the mess!

Join Talia and the rest of the gang for an evening of holiday flix and improvisation on December 10th in the basement of La Sala Rossa. Doors open at 8. $8 or PWYC.