From busking on the cobbles of Covent Garden to singing before the Queen at the Royal Albert Hall, the babes have wooed many a crowd and their next port of call is Bromley's Churchill Theatre on May 21.
Kerry Ann Eustice talks to OperaBabe Rebecca about their success so far.
Have you always liked classical music and when did you first become interested?
My mother, Gillian Knight, is an opera singer, so I grew up pretty much backstage at the Royal Opera House where she worked a lot of the time, so opera is in my blood.
Apparently, as a toddler, I used to sing to Placido Domingo in the canteen at lunch break. We recently met up with him again in LA when he asked us to perform with him at a big opera Gala there.
What drew you to the classical genre?
It happened by accident when we were messing about in a friend's studio with the flower duet from Lakme. I wasn't really aware the genre really existed, except perhaps with artists like Malcolm McLaren.
And who do you admire?
Rufus Wainwright does classical crossover better than anyone I've ever heard.
Is there any other music you enjoy?
Where do I begin? My iPod currently contains Angela Gheorghiu, Cypress Hill, Massive Attack, The Streets - pretty diverse, really.
Why did you leave a larger record label for an independent and how has your music changed since?
Let's say a difference of opinion in musical taste. The music is what it's all about to us and we needed more control.
How would you describe your style and what are your objectives when you set out to create music?
Actually, Karen and I are basically very classical in our style of singing. We both spent years treading the boards in traditional opera companies and have performed lead roles in many operas from Carmen to The Barber of Seville. As OperaBabes, we've diversified and I like to think we have pioneered an experimental approach to classical/popular fusion.
You seem to have something in common with acts such as All Angels (fusions of pop and classical culture). Is the vogue for fresh and funky classical acts something which excites you? Why?
We're very happy that all these other acts such as Katherine Jenkins, Hayley Westenra and All Angels have decided to follow in our footsteps. It's a real plus for us to think we started the whole thing off back in 2002 and many have come up this road behind us and had the same success. It's great for our genre of music and there's room for all.
What's your writing process like and what inspires you?
Luckily I now have a studio at my house, which means we have the luxury of messing about in there as much as and whenever we want. We collaborate with our producer and try out new ideas. I'm generally inspired by triumph over adversity in any given situation which makes me want to get on and do something while I still can.
Your costumes you have are fantastic. Are you pleased with this image? If so why and why do you think it suits your musical style?
We're theatrical creatures and like a bit of drama. It's fun to dress up and it suits our personalities. We don't do bland very well, which is why we teamed up with the fabulous designer Elizabeth Emanuel.
Who came up with the moniker OperaBabes? Do you like this?
We like to blame Des Lynam as he introduced us as "opera babes" to millions of TV viewers when we sang at the FA Cup final and the press ran with it. We've got used to it but it's not what we'd have chosen.
What's been a highlight for you so far? Is there anything else you hope to achieve, if so what?
Since we've been singing together, there have been many highlights. Becoming the first UK classical act to appear in Las Vegas was pretty cool, hanging out with George Clooney in New York wasn't bad, but then when we were busking, before OperaBabes began, a homeless guy put a quid in our basket - that's something I'll never forget.
Source:Ealing Times
