From Dunedin to the Main Stage: Chris McRae Hits a High Note

---

EIC: Editor-in-Chief
Guest: Chris McRae, Tenor – NZ Opera’s La Bohème

EIC: Chris, thanks for taking the time to speak with us. Let’s start at the beginning. How did your journey into opera begin?
Chris McRae: It actually started in Dunedin, where I grew up. I was always drawn to performance, especially musical theatre. In 2013, I trained at CPIT in Christchurch, and by 2015, I joined the chorus for Madame Butterfly at the Lady Isaac Theatre. That was my first real dive into opera — and it was magical. Ironically, the first opera I ever saw became the one where I had my debut principal role later on.

EIC: That’s a beautiful full-circle moment. What attracted you to opera in particular?
McRae: Drama led me into music — I started with the guitar — but it was the theatricality of opera that really hooked me. The idea of using your voice, unamplified, to tell a story is such a raw, powerful form of communication. It was very moving for me, especially the first time I saw La Bohème in 2014. There’s this duet at the end of Act 1 between Rodolfo and Mimì — the Park and Perroni performance — and it just stayed with me. That was the moment I truly felt the emotional weight of opera.

EIC: You’re now performing in a new La Bohème production with NZ Opera. What’s special about this staging?
McRae: It’s set in 1947, so there’s a post-war atmosphere that’s really potent. The production resonates with the history of the time, but also connects deeply with today's audiences. We’re also working in some fantastic venues — gems within the city, like the Isaac Theatre. The scale and intimacy of those spaces create a cultural atmosphere that mirrors the soul of the cities we perform in.

EIC: Let’s talk preparation. How do you gear up for a role like this?
McRae: Preparation begins long before the audition. I always start with the libretto — the original text — to understand the full context of the character and story. Then it’s about building a routine: vocal warm-ups, technical tools, and body preparation. My dance training comes in handy — it gets the body aligned and ready. And of course, hydration is key. I rely on lemon, honey, and ginger — the singer’s classic trio — and healthy habits to keep the voice in top form.

EIC: How do you feel about NZ Opera’s outreach, especially involving younger performers?
McRae: It’s fantastic. For La Bohème, we have a children’s chorus that's unique to each city we perform in. It really brings in a wide demographic and makes opera more accessible. There’s a growing community focus in NZ Opera now — they’re not just producing shows, they’re engaging with people and places in meaningful ways.

EIC: You’ve spoken before about how human experience enhances performance. Can you elaborate?
McRae: Absolutely. The more you engage with different people, places, and ideas, the more empathy and depth you bring to the stage. Every experience adds something. It’s like layering — the notes you sing hang like crystal, but they have to be filled with something human. That’s what makes it art.

EIC: That’s beautifully said. Chris, thank you so much for sharing your journey and insights with us.
McRae: My pleasure. Thanks for having me.