New Zealand born tenor Zachary McCulloch plays Benvolio in the State Opera South Australia production of Gounod’s Roméo & Juliette. He has also worked with the Opéra National du Capitole de Toulouse and toured small towns, schools, and villages across the French Occitanie region. We chat to Zachary about this production of Roméo & Juliette, his work in France, French opera and much more. Read on for the full interview.
Zachary, you’re a New Zealand born tenor who has performed across the world. What made you decide on a career in opera?
I am indeed — born and raised in the lovely little city of Invercargill. I should say first though, I’m still very much at the early stages of building my career, but it’s already amazing where this career has taken me. I wrote recently on my blog that in the past 12 months alone I’ve taken something like 42 flights and 26 trains and buses all over the place.
A career on stage was never something the very shy 13-year-old version of me could have imagined. The decision to pursue opera didn’t come from a single moment of revelation — it’s been a gradual journey built through milestones, challenges, and the encouragement of the people around me: my teachers, coaches, agent, family, and friends. Each of them played a crucial role in nudging me toward this path.
Can you share a bit about your musical upbringing—did you grow up in a musical household, or was opera something you discovered later?
I started out at a Saturday morning program called Out of School Music Class in my hometown, learning violin first, then eventually moving on to singing and piano lessons. My mum was a very capable amateur singer, and while she wasn’t professional, music was always an important part of family life – I remember regularly listening to a CD of great kiwi soprano, Kiri Te Kanawa almost every night as I went to sleep.
It wasn’t until another New Zealand opera singer, Rebecca Ryan, moved back to Invercargill after a career in the UK and became my singing teacher, that the idea of singing opera myself even entered my world. She completely opened my eyes to it. My first live opera was actually a touring production of Hansel and Gretel when I was in high school — that was the moment it really clicked.
Did you know as a child that you wanted to be a singer?
Absolutely not. The dream back then was to be a second violinist in the New Zealand Symphony Orchestra — and quite specifically, on the back desk! But when I was in High School I succeeded in getting into the New Zealand Secondary Students Choir and this surrounded me with so many likeminded people, all keen to further develop and study singing at university. I suppose as I got older and found my footing as a singer, that goal evolved and continues to do so. With the right support and guidance, it has slowly become the thing I wanted to dedicate my life to.
What drew you to the world of classical music?
Classical music, for me, has always been the art form that most truthfully captures the human condition. When I was very young my grandparents gave me a set of cassette tapes with Strauss Waltzes and Marches on it – this inspired me to take up the violin.
Classical music has this incredible ability to express emotion in all its depth and complexity. I’m drawn to the imagery and the humanity it carries — it makes you feel something deeply, in a way that words alone often can’t.
Were there any defining moments or people who influenced your path?
Absolutely. My teacher in Italy, Sherman Lowe, has been one of the defining figures in my development. He’s had such a huge influence on how I think and sing. Coaches like Liora Maurer and Lucy Arner — two New York powerhouses — have also been instrumental. I’m still in that phase of my career where these people are actively shaping me, and I’m incredibly grateful for their ongoing guidance.
Who are your musical heroes, and do any of them have a connection to French music or culture?
As a tenor, it’s hard not to mention Pavarotti — he’s one of the greats for a reason. As a kid, I had a real fascination with French history, but funnily enough, I wasn’t exposed to much French music growing up. Invercargill is a small, quite isolated city, built largely by Scottish settlers — so French culture wasn’t exactly front and centre! I’ve discovered that repertoire much more deeply in recent years, and it’s a real joy to continue to explore where it might take me.
Roméo & Juliette
Benvolio is often seen as a loyal friend and confidant. How are you approaching this character in Gounod’s version?
In Shakespeare’s play, Benvolio is a major presence, but in Gounod’s opera his role is much smaller — he only really has a voice in Act 3. What’s been great is working with our fantastic director Rodula Gaitanou, who’s found ways to bring him into more moments throughout the opera. That’s given me the chance to develop his character beyond the notes on the page — using movement and physical presence to show his nature as a peacekeeper and loyal friend to Romeo.
How do you find the balance between supporting the main drama and making your own mark in a French-language opera?
Benvolio is a supporting role, and I think that’s both the challenge and the joy. You have to bring energy and character to the stage — to enhance the drama and deepen the relationships between the others — but also know when to pull back and let the main story breathe. It’s a delicate balance, but when it works, it really elevates the whole ensemble.
Are there any particular challenges or joys in singing Benvolio’s music in French?
Being part of the big Act 3 finale is a total joy — it’s French opera at its most beautiful and dramatic. The language itself adds a layer of nuance and colour that’s so rewarding to explore.
What has been your experience performing French-language operas, and how does working on Gounod’s Roméo et Juliette compare to other French repertoire you’ve sung?
French music always feels so refined — there’s a subtle, intricate beauty in how it’s written. The language and the music are completely intertwined, and as singers, it’s our job to let that natural elegance shine through.
I recently performed in a small production of Bizet’s Les Pêcheurs de Perles in the south of France, and much like Roméo et Juliette, it’s full of those delicate emotional details. Both operas show how French composers could express love and longing in such a poetic, human way — it’s never one-dimensional.
What excites you most about playing Benvolio in this production of Roméo et Juliette?
What excites me most is the opportunity to bring some real depth to a role that often flies under the radar. He’s not at all the loudest character in the story, but as displayed in the Shakespeare, he’s the one holding things together in many ways. Finding the quiet strength in that — the loyalty, the compassion, the humanity — is what I hope to convey to the audience.
What do you hope audiences will take away from your portrayal of this character?
I hope they see the heart of friendship and loyalty that runs through the story. Even when surrounded by chaos and conflict, Benvolio is a reminder of the human need for peace and understanding.
The SOSA production of Roméo & Juliette is being directed by Rodula Gaitanou. Have you worked with her before?
Yes, actually! Back when I was living in Melbourne, I sang in the chorus for Victorian Opera’s production of Guillaume Tell — one of my first professional gigs straight out of university. Rodula directed that production, and it’s amazing to reconnect with her now, about eight years later, in such a different capacity.
Rodula has this incredible ability to draw out the human spirit in her storytelling. She works with such intensity and intention, and I think that’s why her productions feel so immediate and emotionally grounded. Roméo & Juliette is the perfect opera for that kind of approach — it’s timeless, it’s raw, and it reminds us why opera still matters.
French Opera
What drew you to French opera, and how has your experience in Toulouse influenced your career?
I’ve always had a real appreciation for French opera. As a student, I sang a lot of French mélodie — Fauré, Duparc, Debussy — and I’ve always found that repertoire so refined and full of colour. I think in this part of the world we don’t often get the same exposure to the breadth of French opera beyond the regular performances of Carmen, which, though understandable, is a shame, because there’s such a wealth of incredible music that deserves to be heard.
In Toulouse, I actually started as part of their Opéra Itinérant program, performing a Commedia dell’Arte-style production of Mozart’s Die Zauberflöte (La Flûte Enchantée). We toured it to small towns, schools, and villages across the Occitanie region — even as far as Cannes through more than 60 performances. That experience was pretty tangible. The Théâtre du Capitole and the city of Toulouse have had a huge influence on me. The work there has not only shaped my approach to performing but also led me to base myself in France and continue building my career here long-term. This season I’ll be back at the Capitole for two productions — Weinberg’s The Passenger and Strauss’s Salome — both fascinating works that I’m really looking forward to – not the very least in order to eat more ‘Chocolatine’ and Cassoulet.
As you just mentioned, you’ve performed for the Opéra National du Capitole de Toulouse. What aspects of French opera culture have most impressed or inspired you?
What’s remarkable about working in France — especially when you’ve performed everywhere from small rural villages to major houses — is how deeply rooted art and culture are in everyday life. The French genuinely value opera and theatre, and that comes from a system that supports the arts incredibly well.
You feel it in the audience: they’re educated, curious, and engaged. People of all ages attend — not because it’s fashionable, but because it’s part of life. Opera isn’t treated as something elitist or distant; it’s an expression of national identity. That kind of cultural environment inspires you as an artist to give more, to live up to that standard of respect and curiosity.
How do French audiences differ from those in Australia or other countries where you’ve performed?
French audiences have this quiet attentiveness — they listen with intensity. You can sense that they understand the language and the nuance behind every phrase. In Australia and New Zealand, audiences bring a warmth and openness that’s equally wonderful, but the difference is cultural.
In France and in Europe as a whole, opera is embedded into the fabric of life; it’s something passed down through generations. In Australia and New Zealand, it’s still finding its place. People absolutely love it when they come — every time I bring friends who haven’t seen an opera before, they’re blown away — but it’s not yet part of the everyday cultural rhythm in the same way. That’s something I hope continues to grow here and back home.
How has your experience performing in France influenced your approach to this production in Adelaide?
Working in France has reinforced how universal the creative process really is. Whether you’re in Toulouse, New York, or Adelaide, the goal is always the same — to tell the story truthfully and beautifully. But what France has taught me is the value of precision and intention: the way every word, every vowel, carries meaning. That’s something I try to bring with me into this production, despite being in a smaller role, that commitment to detail, without losing the emotional spontaneity that makes live performance so special – and this is also so visible in my colleagues work too.
Are there any particular French directors, conductors, or singers you’ve worked with who have shaped your approach to French repertoire?
Recently I had the honour of meeting and working with Michel Plasson — one of the great living authorities on French opera. His depth of knowledge and instinct for this repertoire is unparalleled. Honestly, if you listen to almost any definitive recording of Roméo et Juliette or any other French opera, chances are it’s Plasson on the podium. His recordings are the foundation — the “bible” — for understanding French style and phrasing. Spending time with him really affirmed how much elegance and clarity are at the heart of this music.
Are there any French-language opera roles you dream of performing in the future?
I’d happily sing anything French! But like most tenors, Don José in Carmen is at the top of the list — it’s such a complete character arc, both vocally and dramatically. Beyond that, I’d love to explore roles like Faust, or Tonio in La Fille du Régiment, and I’ve recently made a soft spot for Lakmé and Les Troyens too. There’s so much beauty in those works — they’re challenging but incredibly rewarding.
How do you prepare for a role in a French-language opera compared to other languages?
My process doesn’t change too much, but French demands an extra level of attention to diction and flow. I work with a couple of diction coaches — one based at Opernhaus Zürich and another in Mulhouse— to really refine the language.
I always start by going through the text carefully, making sure the pronunciation, liaisons, and rhythmic stress are all correct. Once that’s solid, I move through the score with the diction and vocal coaches, finding the balance between musical phrasing and natural speech. When it clicks, it feels effortless — the text and the music start to move as one.
How does collaborating with a multinational cast and creative team enrich your performance?
This is one of the greatest joys of the job. Working with people from all over the world doesn’t just make you a better artist — it makes you a better person. Coming from a small city in southern New Zealand, you grow up in a bit of a bubble. But through this career, I’ve worked with artists from Spain, France, Germany, Iceland, the U.S., Korea, China, Poland, Hungary, Bulgaria, Canada — the list goes on.
What’s amazing is that you quickly realise how much common ground we all share. Language barriers fade away when the goal is to tell a story honestly. You learn to communicate beyond words, to collaborate with empathy and curiosity. It’s a constant reminder that art really is a universal language.
How do you see the role of French opera in the global opera scene?
French opera is one of the cornerstones of the repertoire. It bridges the passion of Italian opera with the sophistication of German music, and it does so with this extraordinary sense of beauty and restraint. It’s emotional without being indulgent, intellectual without being cold.
I think there’s a real opportunity for more French repertoire to flourish in Australia and New Zealand. It deserves to be heard more often — it’s so rich, expressive, and deeply human.
Why should audiences come see Roméo & Juliette?
Roméo et Juliette is the ultimate love story — timeless, tragic, and profoundly human. But what makes this production special is how immediate and relevant it feels.
Audiences should come not only to experience this rarely performed masterpiece and support the incredible local and international talent involved, but also to be reminded why opera still matters. Gounod’s music captures the full spectrum of love — joy, fear, longing, loss — and this story challenges us to question why conflict and tradition still divide us.
It’s as relevant now as it was in Shakespeare’s time: a story about love in the face of hate, and about the fragile beauty of peace in a world that keeps testing it.
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We thank Zachary McCulloch for this interview.
KEY INFO FOR ROMÉO & JULIETTE
WHAT: State Opera of South Australia’s production of Gounod’s Roméo & Juliette
WHERE: Her Majesty’s Theatre
WHEN: Four performances only:
- Thursday 23 October, 7.30pm
- Saturday 25 October, 7.30pm
- Thursday 30 October, 7.30pm
- Saturday 1 November, 2:00pm
HOW: Purchase your tickets via this link and under 30s via this link
HOW MUCH: Ticket prices are as follows:
- Premium: $189
- A Reserve: Adult $149, Concession* $134
- B Reserve: Adult $119, Concession* $107
- C Reserve: Adult $79, Concession* $71
- Under 30: $35
Have you ever seen a production of Roméo & Juliette?
You may also like to read our interview with Siobhan Stagg who plays the role of Juliette in State Opera South Australia’s Roméo & Juliette
