A Q&A with Krista Sher Selico
Krista Sher Selico: Operatic soprano, orchestral power…
What’s the title of your latest release, and what does it mean to you?
The album is titled Big Beautiful Music. To me, it’s a deeply personal collection of arias that are incredibly dear to my heart as an operatic soprano.
What was the hardest part about putting this release together, and why?
Honestly, it was the sheer scale of what I was trying to pull off independently. I was completely uncompromising when it came to quality-I knew I needed to record with a full live orchestra in world-class facilities to do the music justice. Coordinating musicians of that calibre and managing those logistics on my own was definitely the hardest part, but that level of musicality is exactly what the record required.
Who produced the release – what did they bring to it? If you produced it yourselves what do you enjoy most about producing your own material?
Big Beautiful Music was independently produced through my own label, Magnolia Tree Record. What I enjoy most about producing my own material is having the freedom to pursue pure excellence. My team of talented musicians and personnel brought their absolute best to this project, helping us achieve a standard we are incredibly proud to stand behind. I truly believe this relentless dedication to quality is exactly what makes independent artists the backbone of the music industry, and I wouldn’t have it any other way.
What do you want the listener to take away from listening to your music?
Ultimately, I want listeners to realise that classical music has a vital place in their lives. As a leading operatic soprano, my goal is to use the full power and mastery of my voice to demonstrate how complex music actually adds to our emotional bandwidth and expands our understanding of ourselves. But for this connection to endure, the industry must evolve. We have to expand our iterations of classical music so that the genre can continue to thrive. It’s crucial that we continually challenge our style and artistic expressions-not just to keep the art form alive, but to seek out new, hidden parts of our own souls.
How does a track normally come together? Can you tell us something about the process?
It’s a multi-layered process that blends deep artistic preparation with technical precision. For the arias, we start by sourcing the exact scores. Then, I collaborate closely with my team of coaches to craft my unique interpretation of the piece. Once I’m vocally and emotionally ready, we bring it to life by recording live with the orchestra. Finally, it heads to post-production for mixing and mastering, which gives the track that final, polished standard of excellence before it reaches the audience.
What band/artists have influenced you the most since you started this project, and why?
That’s an interesting question for me, because generally, my approach is actually to avoid outside influence. While I am deeply aware of the iconic recordings of these arias, and I train rigorously to ensure my vocal production is technically flawless, I make it a point not to study recordings of other sopranos. For me, avoiding that external influence is crucial. It is the only way to truly develop my own unique style, trust my instincts, and hear my own authentic voice as an artist, rather than echoing someone else’s interpretation.
What countries would you like to tour?
While touring internationally is always a beautiful experience, my greatest ambition right now is to increase awareness of this cadence of music within my own country, the United States. Historically, culture follows art and because American culture is still relatively young, having the opportunity to contribute to its elegance and gravity through classical music would be an absolute privilege. That said, for my own personal edification, I do love visiting other countries. Travelling and absorbing pieces of different cultures around the world deeply enriches my own life and feeds back into my artistry.
Are there any standout venues you’d like to play in?
Rather than naming one specific stage, I can tell you that my soul thrives on beauty. You can expect to see me perform at venues that truly capture the essence of the Earth and the splendour of human invention. For me, there is nothing quite like the sound of a soaring vocal ringing out in the open sky, or echoing through opulent arches.
If you could pick one track for our readers to listen to in order to get a taste of your music, what would you pick, and why?
What makes this project especially meaningful is my recording of Verdi’s ‘Ernani, involami’. In November 1878, my distant aunt, the great soprano Marie Selika Williams, performed this exact piece in the Green Room of the White House for President Rutherford B. Hayes. She was introduced by Frederick Douglass, and her performance made her the first African American artist to perform at the White House. Being able to record and release the same aria she sang is a profound, full-circle moment for my family’s legacy.
What ambitions do you have for the band/your career?
I want to take this vision on a worldwide tour, but with a twist: performing original arias. My goal is to capture the exact same classical cadence you hear on Big Beautiful Music, but through new compositions. When Puccini and Verdi were writing, their music appealed to the majority-it was the popular music of its time. I believe getting back to a universal appeal of classical music through original works is the key to the genre’s future and a necessary shift towards cultural refinement and grace. In fact, my next album is already in production, and it is my first major step toward that goal.
Finally, as you leave the stage, what are your parting words?
“Until we meet again, my friends, may the spirit that has inspired me inspire you to do your greatest work on this planet.” -KRISTA
Find out more about Krista Sher Selico at kristaselico.com
