In conversation with Claire Habbershaw: "The magic of classical music is, if you condense it down to  two words, "Timelessness and relatability".

11. Juli 2025

Rubrik Interviews

©Richard Eccletsone

When Claire Habbershaw started out on her thrilling journey to become an acclaimed accompanist at the age of 17, she did not even know that the world of classical music would become her greatest passion, as it eventually turned out to become her beloved profession.

 

With a quenchless thirst for all things Lied, Claire dives deep into song cycles and curates concerts that truly speak from her heart. It is her mission to inspire audiences by finding new ways of presenting Lied in a relatable and easily approachable way, always respecting its historic routes.

 

Still Claire finds that artsongs are timeless pieces that can resonate with everybody and transcend through time. Having recorded a set of songs and whole song cycles with the world reknowed tenor Charles Castronovo, Italian artsong is now high on Claire´s playlist, as she realized soon enough that the selection of Tosti songs really grabed her emotional core.

 

From the bottom of her heart Claire Habbershaw is promoting artsong to the world and does not tire to do so on the social media platforms as well. She is for sure one of the most inspiring brand ambassadors out there in the classical music industry to proclaim the true magic of Lied.

  

Operaversum: Dear Claire, have you always dreamt of starting a career in classical music and what made you decide to become a pianist?

 

Claire Habbershaw: My path into classical music and into Lied was rather extraordinary, as I come from a completely non-musical family, who did not know much about anything artsong and classical music at all. So back when I went to school I eventually started off with piano lessons for fun, but was somehow more drawn to singing and acting. I really was into acting and wanted to become an actor. But reflecting upon that I realise now that it was the words and interpreting the words, I instantly fell in love with.

 

Anyway, I kept on practising the piano during my teenager years and played the music by ear, studying up to grade 8 on an exam board that didn’t require a music theory exam, but learning the pieces by listening as I hated reading music

up to the point, when I got 17 and a concert pianist came to our school to give masterclasses.

 

There was a girl who was supposed to attend the masterclass, but was so unwell that they asked me to jump in for her instead. So this concert pianist offered me a full scholarship on the spot, which totally cought me by suprise, as I could not imagine myself persuing a career as in classical music at all.

 

So from there it all went in a direction which brought me to a conservatory in the UK, where I had to catch up with reading scores and everything else that is related to music practise and theory. Then in my early 20ies we had to do a chamber music exam.

 

And even though I liked playing the solo piano, it never felt quite right for me at that time. It was all so up in the air considering classical music as a career for me. But then I remember sitting on the train and listening to "Songs of travel" by Vaugham Willians, which all of a sudden turned out to be a game changer all along.

 

From that moment onwards I dived into everything artsong and listened to Gerald Finzi and the whole English song repertory. That was a very transformative experience for me. I then asked my friend James Newby whom I was studying with that we do "Songs of Travel" together for my exam. So we did and the exam went really well.

 

After that I was approached by my teachers who recommended me to accompany singers, simply for my ability to tune into that role so naturally. And what can I say. Since that day my career took off, I won all the competitions and prizes at my first conservatoire and realised that I wanted to hop onto this "career train" more than anything in my life.

 

And now that I am evolving in my career, I am obsessed. I so much love what I am doing. But I have to admit, that this path rather found me than the other way round.

 

Operaversum: Aren´t those the most beautiful things to happen in life? And is it not destiny somehow having taken you on the right path?

 

Claire Habbershaw: It is amazing how life kind of draws you into things. My parents always kept saying to me that it must have been complete fate. And at some point I was not even sure I wanted to go for that career. But fate kept on drawing me back in, which I think describes my path as totally different to that of most of my colleagues.

 

©Richard Eccletsone

Operaversum: Thank God, fate kept an eye an you and turned you into an artsong expert, as you may tell me now why this genre is so special for you and which are your secret ingredients to a perfect interpretation? 

 

Claire Habbershaw: Well, obviously the most special thing about artsong compared to all the other genres of classical music is the poetry, which is one of the most timeless, relatable and human element in the world. There are so many facettes in poetry anyone can relate to, even if the poems are written in another language. As long as they are translated, they can touch you deeply.

 

Moreover artsong is an extremely theatrical part of classical music as well. I was once amazed by the song cycle "Earth and air and rain" by Gerald Finzi, sung by Roderick Williams at Wigmore Hall, as the most fascinating part of that performance was the transitions between the individual songs, as some were quite gripping, plus the emotions and the poetry of Thomas Hardy which added up to its overall beauty.

 

That experience also marked an important moment in my career. And sometimes I also compare artsong with Fringe Off-West End theatre, which at times can be more touching, imtimate and personal, if compared to the bigger operatic or musical productions.

 

As for the secret ingredients, you were asking me about, the first thought that springs to my mind is listening like mad to your singer collaborator. But then that is no secret ingredient. But for a pianist that for sure is the most vital thing, as you have to listen to what the singer is doing.

 

What rather could be a secret to an in-depth interpretation of artsong though is to know the emotional interpretation of the words, meaning that I have a dramatic idea of what I am trying to bring across in a song cycle and understanding how to build up the arc of the whole story as it unfolds to the listener and certainly how it should feel when I am creatively building the bridge from one song to the next.

 

What also is important is to study not only the composition, but the poetry and its poets, getting an idea about the period of time they lived in and the history behind, as that definitely has an influence on your interpretation as well. Last of all, it is extremely vital for me to have a good friendship with my colleagues. That might sound maybe a bit obvious, but in the end it really means that you can take risks on stage and feel like letting go.

 

Operaversum: So is this the way of how a performance between an opera singer and an accompanist works, as I am frequently asking myself how you both align your individual ideas as in musical interpretation?

 

Claire Habbershaw: Well, that is a good question! In my opinion there has to come a point in your role as a collaborative pianist when you ultimately have to accomodate the singer´s interpretation, as they can possibly not change their voices and the way they sing. What I mean by this is that they cannot change the technical capabilities of their voice, which ultimately will inform their interpretation.

 

In a similar way I might play certain things on the piano differently to my colleagues who have bigger hands than me for example! But that is definitely what makes my job so interesting – you get to try out a huge amount of different interpretations with the different singers – it keeps you creative all the time.

 

So for example if I play the Ophelia lieder by Richard Strauss with five different sopranos, their interpretation will differ, because if one of them has got a lighter voice it technically will get a different interpretation from somebody who has got a heavier voice. So you have to be quite open to get the best out of people. Certainly as a pianist you can come with your own ideas.

 

And for sure when I curate a concert then I am equipped with all my artistic ideas of how I want the concert to turn out. So this is also the part where my creativity will flourish. But on the other hand, it is very rare, even though I bring in my own thoughts and ideas, that I am not on the same page with my singing counterpart.

 

It is what makes interpreting artsong a challenge and very thrilling as both the singer and yourself might have completely different life experiences. And incorporating those authentically into artsong, makes the performance even more relatable.

  

Operaversum: So that means you always have to find a balance to bring in a part of yourself, of your interpretation, but also respect what the singers are doing and also consider their unique voice conditions?

 

Claire Habbershaw: I do think so!

 

©Richard Eccletsone

Operaversum: Claire do tell me about your forthcoming album of Belle Epoque art songs, which you recorded alongside world renowned tenor Charles Castronovo. How did you decide on that project and which repertoire can the listener expect?

 

Claire Habbershaw: First of all, Charles Castronovo is a very dear friend of mine and a trusted collaborator with whom I have been working for years now. This album is a project of his, as before working with Charlie I have so far not done a lot of Italian songs, at least I have not been studying them in-depth. But as soon as I started listing to them I fell in love straight away, mostly because that repertory plays, I feel, to my strength as an artist.

 

And you also get lost in these songs the minute you are listening to them. What is absolutly fascinating about this Italian artsongs is that they require a lot of imagination due to the fact that the music can be very repetitive, other than the words.

 

So if the words change, I have to make up my mind how to use the chords in order to apply a sound that gives meaning and empasis to the words. And that is a challenge as it not only requires imagination, but a huge amount of emotions as well.

 

That is where Charlie and I work tremendously well together, as we both prioterize emotions and moving people through our art, always intending to put our heart and soul into each song. As for the repertory we have a lot of Tosti songs, quite some club bangers by Tosti, as I would call them and a lot of other Italian composers.

 

For all the interpretations on the album, we stay true to the style and the genre, but we definitely bring in our own fresh touch. So I am excited to see what people will think about the outcome.

 

Operaversum: So Claire, are we talking about whole song cycles or individual songs alltogether?

 

Claire Habbershaw: The album covers a mix. We have got song cycles, we have got some set of songs and we have got individual songs. A real fantastic mix.

 

Operaversum: And do you have a favorite piece on that album, which speaks straight from your heart and why?

 

Claire Habbershaw: Definitely! There is such a cycle called "Quatro canzoni", which a set of four songs and about 20 minutes long. To my understanding an underdone song cycle, as it is not programmed as part of a core repertory very often. But it is an absolutely incredible song cycle. And the song I am really in love with is called "Lasciami".

 

Operaversum: What does it mean?

 

Claire Habbershaw: Leave me! It is so beautiful and it has got this stunning piano introduction, which runs a minute and a half. When Charles sings it, it really turns out to be my favourite piece on that album, just because of the way he interprets it. So I do love that song as it grabs my emotional core sure sure.

 

Operaversum: Claire, what do you think about not shying away to stand out as an accompanist with your very own artistic personality, putting aside the background role and bringing it on with all your dynamic lively self?

  

Claire Habbershaw:I am happy that you are giving me a kind of platform to address this topic, as I am truly not fond of the matter that accompanists are often enough perceived as a kind of background artist. If I think for example about Hugo Wolf, it becomes quite clear how important the role of a pianist is.

 

He was one of the first Lied pianists I studied in huge depth and I was lucky enough to study his work with one of his greatest interpreters, Eugene Asti. In his Lieder the pianist was never just supporting the singer, as the tecnical demand of some of his artsongs is not a joke at all.

 

Hugo Wolf would always in his works discuss the interpretive demand of the piano part to showcase that he really painted the words. So he is a very good example of how important the piano is. He explicitly insisted that his songs were written "for voice with piano" — not “voice accompanied by piano.” 

 

This was not just a semantic preference; it reflected his artistic philosophy that the voice and piano are equal partners in the musical and poetic expression. On the other hand if it comes to visually presenting myself on stage and also throughsocial media, that also adds up to demonstrating that I can stand out alongside my colleagues and show that I am not shrinking to the background.

 

Furthermore I am making a real point of always giving spoken introductions, such as reading extracts and letters, as I sometimes do a programme where written texts by women throughout history are thematised. I even read one of Calamity Jane’s letters, in a full blown Western American Accent! So I really try and paint myself as an equal partner.

 

And I remember that Roger Vignoles, who said this when he adjudicated me in a French Song competition that I subsequently won, said that a singer and a pianist should be like two halfs of a CD. They have to come together as one to make the CD perfect. So in the end I do not only define,myself by my playing, but also by how I am presenting myself on social media as my own artist.

 

©Richard Eccletsone

Operaversum: Claire, do tell me a bit more about your interview series: “Keys to the masters”, which is all about insightful and deep-dive conversations with classical music stars? What was the reason you opened up that field for yourself?

 

Claire Habbershaw: I decided to start diving into that topic, as my friend David Taylor, who is an arts entrepeneur and consultant was telling me that I was a confident speaker and should try to get that somehow out on my social media channel.

 

And as I am always trying to find new ways to develop and improve myself, the idea came up to interview people throughout the creative industry. So what I am trying to do on my own interview series is to talk about the artists subject and their field of specialisation.

 

And as I am well-placed with my music knowledge after 9 years of university studies, alongside my knowledge of theatre and singing myself, I can withdraw the expertise out of these people. So I am enjoying these interviews a lot, taking on another perspective, to make those talks informative for the audience as well. 

 

Operaversum: Claire, if you think about the future of classical music, what in your opinion is needed to keep this artform interesting and inspiring, particularly when you consider how to attract newcomers to it?

 

Claire Habbershaw: In my opinion, social media is the obvious answer for visibility, even though there is still a lot of resistance in that field, if it comes to engaging with the audience there. Social media is an amazing tool though, if you know how to use it to your advantage. It is certainly not an enemy. Thus we should not work against it. Just considering the greatness of what it does in terms of marketing yourself, your art, getting your artistry and your work out there to a much broader and newer audience.

 

Of course apart from social media I personally also have to think about how to present my artsong concerts timely and in modern way. So sometimes I use visual elements in my concerts that I curate. For example I did this concert about the life, music and poetry of Ivor Gurney who was a British composer with a tragic life story, as he suffered from mental health issues.

 

But he was an outstanding artistic person, who wrote some of Britain’s finest art songs such as “Sleep” and poetry, some even literally in the trenches in World War One. So what we did was an audio-visual film where we included footage and documentaries from his hometown that he loved so much, Gloustershire. So that visual approach helped audiences to understand the concert.

 

It opened the gate for them to try out more art song venues such as Wigmore and eventually made a lof of sense. Nonetheless I think we still need a mix of both forms of concerts, modern outlooks and traditional song recitals. Going back to the Instagram topic, I eventually started doing a series of videos, talking about composers, artsong and the whole arc of the artsong story to get new audiences interested in that genre.

  

So for spreading the good word about artsong, classical music and our artistry, social media is the format to choose. Sometimes I even post some personal things about myself, a couple of my photos showing me in my fashion style.

 

A little social element is important too, as it makes us more relatable and human. In the end I am also just a normal girl who likes going out with their mates for a drink, loves fashion, make-up and the like. So in that respect I may also be relatable to young woman who then follow my account and eventually get drawn in for the music as well.

 

That can open a brand-new world to them which is a big chance for the classical music industry. Moreover I hope that social media can attract other young people and persue them to start a career as a musican.

 

©Richard Eccletsone

Operaversum: Claire, please do tell me about your most touching stage experience and what made it so special and unforgettable? 

 

Claire Habbershaw: Can I have two, Nicole? 

 

Operaversum: Yes, sure, just go ahead!

 

Claire Habbershaw: Well, first of all my father had an aortic aneurysm in 2022 and he nearly died of it. I am extraordinarily close to my parents. They are my best friends and my biggest supporters. And I adore them. So when that happened to my father, it absolutely shocked me to the core. Thank God, my dad survived. And ever since that happened, I am into doing charity work, which means I am doing a lot of concerts by using music as a way to promote causes.

 

So there was this particular concert where I raised funds for the hospital my father was in to thank them for everything they did. It was the Ivor Gurney concert and it was special to me for a couple of reasons. First of all there was this audio-visual, where I am lightning a candle at Glouster Cathedral, which relates to when my mum went to light a candle at St. Pauls Cathedral in London the day of my dad´s sugery.

 

You know, Nicole. We are not religious, but muy Mum sort of had this feeling to do that for my dad. So when she went to light a candle she had forgotten to take coins with her, but was encouraged by someone in the church to take a candle and light it anyway.

 

So thinking about it, it turns out to be a lovely story and in a way and I wanted to have that remembered through the audio-visual, accompanied by this fantastic music of Ian Venables, whose music I love deeply and have always done since my early 20ies. Ian´s music was also a massive turning point for choosing this career as a pianist. So when this concert came up and I had the chance to meet the president of the Ivor Gurney society, I took the courage to send Ian Venables an invitation.

 

And guess what, he attended my concert, which truly made my day. After that concert an amazing friendship started with him. And he is now one of my closest friends. We have been doing so much work together. 

 

As for the other concert, which was a wonderful stage experience, I was performing with Charles Castronovo at St. Chapelle in Paris. Have you been there, Nicole? 

 

Operaversum: No, I have not, Claire!

 

Claire Habbershaw: Well, I can tell you that concert was simply amazing. It was like something I had never done before in my life, so atmospheric it was. And I remember, we did some stuff which we had not given a single thought, as it then came out quite spontaneous in the moment.

 

It was some of the Tosti songs in a very pianissimo style. And I recall the whole hall filled with people going utterly still such that you literally could hear a pin dropping. That was magic! And it was also the concert which my dad attended after his recovery. So definitely those two concerts for sure stand out.

 

Operaversum: In a few words: What is the magic of opera and classical music and why is musical culture so important for humankind?

 

Claire Habbershaw: Oh, Nicole, that is quite hard to just put in a few words. But let me think. Well, the magic of classical music is, if you condense it down to  two words, "Timelesness and relatability". But of course this is a big clichee, whereas it is a clichee for a reason because obviously classical music transcends so much. And regardless of the languages in artsong, it is something everyone can enjoy and listen to, no matter who you are or where you come from.

 

And that I reckon is such an amazing human experience which brings us all together. And as much as I love technology I feel the need to remind myself of how beautiful, traditional and personal the artsong is and that it should be passed down as it is a great way to narrow in this world, in which humankind is constantly surrounded by technology.

 

Thus it is a wonderful means to escape from all things technology, even more so when you practise music and artsong in particular. Then you have to turn off your eletronic devices. Speaking of such, when I for example go to a concert, I am relieved when I can turn off my phone for a while, since I am not getting a lot of opportunities to do so any more. Plus it is a wonderful way to also go deep in your own thoughts and stimulate your own imagination.

 

Operaversum: Thank you so much Claire for these final words, getting to the route of all things classical. Loved this conversation so much.

 

©Richard Eccletsone

Claire Habbershaw is an award winning British pianist & musical director, who specialises in art song, opera and musical theatre repertoire. She is an international recitalist, concert curator and recording artist.

 

Claire is the regular pianist for world renowned tenor Charles Castronovo and has partnered him in numerous recitals abroad and in the UK. She has recorded art songs from the Belle Époque period alongside Castronovo for their debut album, which will be released in May 2025.

 

She regularly partners world renowned counter tenor James Laing and they premièred major living composer Ian Venables’s piece, “Little Old Cupid”, in 2025. Claire has performed "Out of Winter" in the presence of the composer, Jonathan Dove, as part of his 60th birthday celebrations and gave the live performance première of major composer Ivor Gurney's solo piano piece "Autumn".

 

She has performed in major music festivals and concert halls, both abroad and throughout the Uk. Her other regular duo partners with whom she performs a variety of Song programmes are British singers, soprano Susanna MacRae and mezzo soprano Rachel Roper.

 

Claire completed her Artist Masters in piano accompaniment with distinction at Guildhall School of Music and Drama, where she was a Guildhall Scholar. Claire was the Junior Fellow in Piano Accompaniment at Guildhall, where she is now a staff pianist & often engaged as a musical director for a variety of different projects and performances.

 

She previously studied as a Trinity London Scholar at Trinity Laban Conservatoire of Music and Dance, where she won every duo Song prize available and was furthermore awarded the Founders Prize for Piano Accompaniment and the Raymond Russell Prize for Harpsichord. 

 

As a musical director, Claire is regularly sought after for her collaborative expertise, working with acclaimed theatre directors such as John Haidar and Walter Meierjohann.

 

A dual citizen of the United Kingdom and Republic of Ireland, Claire enjoys unrestricted access to work across the UK and the EU Schengen Area. She is a Liveryman of the Worshipful Company of Coopers, reflecting her contributions to the cultural life of London.

 

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