'You have to train and be consistent': Emer Barry speaks about her singing

Emer Barry is a Longford-born professional soprano singer. After being noticed during a concert in the concert hall in Dublin, Emer had the opportunity to go over to America to perform. She has also been a voice teacher in Waltons New School of Music in Dublin, as well as been a singer on cruise liners, which gave her further opportunities to travel globally. This August, she will be performing in the Backstage Theatre, her first return to Longford in a long time. “Celtic Dreamer” will explore her many influences, from Audrey Hepburn and Sarah Brightman.

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Where in Longford are you from?
I’m from Battery Road where the tennis club is. I grew up literally across from the tennis club, so I was playing tennis at the age of 3. So, yeah, that’s where I grew up and my mum still lives there. I went to Meán Scoil Mhuire with the lovely blue uniform.

How did you get into singing?
Well, my parents say that I was singing before I was talking. I used to stand up in the cot and sing. One day, my dad turned to my mum and said: “I think the baby can sing.” From the age of around 7, I was in third class. Sister Peggy was the teacher and we were all singing a song. Sister Peggy was standing by the desk and asked me to sing it by myself. She told my parents that I should get my voice trained and should go to lessons. I used to be really shy, getting all this attention. It turned into a passion and a job. I was gently encouraged.

What was your first performance like?
Actually, it was back in third class. Sister Peggy did this in Longford Cathedral, singing to the hymn “One Bread One Body”, on the altar doing actions with our hands. I was the soloist. I was up on the altar and had to get a box to reach the microphone. I’ll never forget it because it was the first taste I got in public. My first experiences were in church. I went and did competitions in Dublin, which is a very different feeling. It’s different when you compete. It did really help with nerves. I manage nerves really well now. So, yeah, I did so much performing in masses, competitions and exams when I was really young, I just manage nerves well now. It was awful for years but something I’m very grateful for. It’s important to feel nerves as it gives adrenaline, but it doesn't seem to affect me.

Did you pursue your interests in college and how did they help develop your career?
Yeah, I did. I went to college and I did Music and Italian together because my voice suited classical music and Italian is amazing if you want to go into opera. I did that for three years in UCD and then I did a music performance master’s in TU Conservatory or something like that. I think it's DIT now. I’ve always studied and having that background is fantastic as well. Being able to read music, all the training you get, and went on to do a year of study with the National Opera in London. All my learning gave me boxes but I took everything and made my own box. I love what I do now because it’s a mix of everything. It fits me better than having to sing a particular way to fit into that opera world. It did teach me a lot for sure.

What challenges have you faced?
The thing is that you learn on this journey and life that there’s an awful amount of rejection that doesn’t reflect on how good you are. It’s part of the job. But it stings every time. When you sing and you’re not the winner, even if you won the last one, you have to learn to go that you don’t suit everybody’s taste. I can’t take that on board and say I’m not good enough; how can I be better; more authentic; my instrument and personality to be a more authentic person of myself. The lesson of rejection is really important to not let it slow you down, not let it take your confidence away. No, I can’t think of any specific challenge except the general feeling that you can’t be everybody’s favourite or appeal to everybody. If you try to appeal to everyone, you’re trying for the examiner, or people. This is who I am. If it works, great. It’s challenges that lead to lessons and lessons are important. It’s how you evolve.

When was your big break?
Funnily enough, when I made the decision to step out of the opera world. I was about in my early thirties by then. For most people, that would seem quite late. I had all my eggs in one basket with the opera. I started a group with a harpist and violinist and we played our different styles of music. It was freeing to use my voice in different ways. We had the opportunity to go to America. We were performing in the concert hall in Ireland. Howard Crosby was performing in the same show, and he is the nephew of late Bing Crosby (“White Christmas”)--biggest selling Christmas artist of all time. Really famous back in the fifties. Everywhere. Howard was his nephew and he heard us sing and was, like, I’ll have to bring you over to America. A few months later, we were on a plane to Texas. Since then, apart from Covid, we have been over ten times in ten years for A Celtic Christmas. That’s when things started to change that I didn’t need to be in the opera world to sing. I could be a singer just being more myself. From there, I started recording things myself. I did an album and releasing stuff on YouTube. I was contacted to sing on videogames. So many amazing things just by stepping out of that box by making my own. Again, I was in my early thirties. I remember thinking I was passed it after 25, but 25 is super young! I still feel like I’m still learning, evolving and growing. I’m still excited. I don’t think I’ve had my big break yet. I still think there’s better to come. I think it’s nice that the best is yet to come.

What is your creative process like?
I've only started writing music. I haven’t released any of my own songs into the world. That’s how I think about constantly evolving. That’s something that I’m doing. Backstage Theatre has given me a bursary to write music over the summer. My creative process for performance is different to writing. I look at the lyrics first. I always look at it like a character. It probably stems from studying opera. I approach every song like that. What have they gone through, what are they trying to say? I read them like I am an actor. When I’m on the stage, the story is clear. I feel singers are storytellers. I feel that we are there to make the audience feel something. The most important thing is to make them feel something. The only way is to be honest and the emotions in the song. I love words. When it comes to writing, I come to words first. I will find the concept and the words and then the melody comes afterwards. I’m very driven by stories and emotions.

Any performances coming up in Longford?
I do. Because I got the bursary from Backstage, I’m going to be workshopping new music with my harpist and violinist, who I got to the States with. We decided to do a performance there. We’re doing a performance of “Celtic Dreamer”, what my inspirations are. I’m inspired by Audrey Hepburn, for example. I’m born in the wrong era. I will be doing songs I perform on tour. I also started performing in theatres on cruise ships. I love it. It’s the best job ever. I get to visit all these great places. I get to sing in front of an audience on their holidays. I’ll be doing songs from the ocean as well. It’s just a whistle stop tour of influences, taking in all of those different sections. I’m excited about that.

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Have you got advice for aspiring Longford singers who would like to pursue their talent professionally?
I think there are two things. You have to work for it and understand that having a gift is only a very small part of it. You have to work like an athlete to make your voice strong. You have to train and be consistent and not be down when it gets difficult. Learning anything takes effort, no matter how much talent. Don’t ever underestimate the hard work. Once you get on stage, what you have to offer is you, who you are, how you tell the story. Be authentic and be honest and don’t be afraid to be vulnerable. Everything you learn, technically, voice and breathing–it can never be robotic. That’s only there to help you tell the story. Keep working hard but be able to let go and be yourself when in the performance.