The BBC was there to interview me that day when I arrived from Salzburg. That miraculousness of it <strong>—</strong> it was more than just being at the BBC Proms. When you see four black singers on the Salzburg stage, which has never happened before in the history of Salzburg, there’s something more to that than just being at the Salzburg Festival. I love to be a part of new productions, where people have new concepts. Friends of mine who are in jazz say that, in classical music, we have what’s on the page and we just do what’s there. We have to change that perspective. What I would love audiences to further appreciate is that there are different voices, different backgrounds of people, different experiences <strong>—</strong> that we all bring ourselves to the paper, to the music. So what I would express in my voice, in my instrument, would not be the same as the people who they love listening to on CDs and records from back in the day. I listen to every other type of music. I explore other singers and other operas, but I also widen my range and keep up with what’s happening in the rest of the world. Those other artforms teach me about life and how to bring different elements into my acting, into my craft, into my appearances <strong>—</strong> because ultimately our artform is competing with them, so we have to know what’s going on in other artforms. Of course, I am from Trinidad and Tobago, so soca and calypso is a must. And I’m also learning more about our folk songs. So that’s been an eye-opener, with learning more about my heritage, and about why we have so many sad, sad folk songs. That is overwhelming. And if it’s happy, it’s about food! I don’t want to be a specialist in any one period or composer <strong>—</strong> I want to sing everything. Hey, I’m from Trinidad and Tobago. We could do anything! Everything! Anything you put in front of us <strong>—</strong> we know how to do it, because we were taught here in school to achieve anything. Convent was good for that. Part of my vision is to highlight that the classical artform is part of our heritage in Trinidad and Tobago, in its own right, and has influenced the evolution of folk and steelpan music and other indigenous artforms. It should not be dismissed but rather valued. So I want to keep working, keep my vision board in check, stay very close to God, and to keep spreading the message of equality and diversity through my music. I am just starting. Last year was a whirlwind, and it’s propelled me forward. The roles I have now are roles I want to do, should be doing, and safe for my voice, to help it grow. People might say that because of my age, there are other people starting earlier than me . . . or some people might say that I’m very young and I have a lot of time. I think that I am in a really perfect place right now. It couldn’t be more perfect, honestly, with my career. n In <strong>November</strong> and <strong>December</strong> <strong>2018</strong>, Jeanine de Bique will be performing in France, Italy, Germany, Hungary, Australia, and the United States. For more information on her schedule, visit jeaninedebique.com 68 WWW.CARIBBEAN-BEAT.COM
ARRIVE Simon Dannhauer/shutterstock.com 70 Destination Foodies' Barbados 80 Escape Picture-perfect St Lucia 88 In the Bag “A travel bag should be a bit ugly” St Lucia’s Marigot Bay