John Wilson

Well, I was going to say that shyness that you talked about before.

I was desperate.

So it was about standing in front of, I've got to say that, standing in front of an audience.

A classroom is an audience.

So how did you, did you not worry when you moved into singing, when you started to make that move into the professional world of singing, that that is a big part of the job, standing in front of people?

But what was the transition then from teaching to singing?

I see.

So you had spare time as a teacher, but you still had a love of singing and you wanted to just develop it a bit further.

But you had no professional ambitions.

When you were at the Royal Academy, you won the Principal's Prize, I believe.

Was that not a big boost to your waning confidence?

I think it was a cost.

What's interesting, though, is you're talking about this sort of a lack of self-confidence, lack of self-esteem as well, to an extent.

And then you suddenly realise that, you know, opera is a calling and this is a very big, demanding industry in a way, isn't it?

A global industry.

Were you not daunted by that or intimidated by the prospect of joining something so big and grand and demanding?

One of the things that fans and critics have loved about your performances over the years has been your acting ability.

You know, you're a very expressive performer.

How did you overcome those natural nerves, that sort of lack of confidence that you were talking about?

You made your operatic debut as Pamina in The Magic Flute, I think at the English National Opera, so here in London at the Coliseum.