Nkululeko Innocent Masuku didn’t set out to become an opera star, but fate had other plans. Growing up in a small township in Mpumalanga, South Africa, opera wasn’t part of his world—until a high school choir competition changed everything. What began as an unexpected solo soon became a calling that has taken him from Cape Town to Europe’s grand stages (Britain’s Got Talent, English National Theatre, and so on.).
In this candid conversation, Masuku opens up about moments of doubt, the mentors who shaped him, and the delicate balance of staying grounded while embracing the spotlight. With a voice that commands attention and a story that defies expectations, he offers a glimpse into what it means to trust your instincts, even when the odds are stacked against you. His story reminds us that the only limits we face are the ones we impose on ourselves. This is his story—told with honesty, vulnerability, and a deep love for the craft that has shaped his life.
FAB: You’ve performed all over the world—from Cape Town to Argentina, and even with the English National Opera in Porgy and Bess. What was it like travelling and performing internationally in such iconic roles? Do you have any behind-the-scenes stories you can share with us?
Innocent Masuku: It’s been quite a journey! Performing in Argentina was particularly memorable because at that time, I was still part of the young artist program with Cape Town Opera. I was living in South Africa then, so going to such an iconic venue to perform felt like a huge milestone. It was my second time performing opera outside of South Africa—the first time was in France, Rennes in a Jazz festival . That time, I was part of a jazz band, and we were singing opera while the other musicians played jazz. It was such a unique and exciting experience.
When I went to Argentina, I had a solo part in Porgy and Bess, which made the performance even more special. It was just a minute-long solo, but to me, it meant everything. It was a defining moment where I felt like people could truly hear me. Performing in Porgy and Bess, which is such a significant opera for Black artists, validated my dreams. Coming from a humble background in South Africa, there were times when I doubted if my dreams would ever come true. But stepping outside South Africa for that second performance reassured me that it was all possible.
Later, performing again with the English National Opera in the same production of Porgy and Bess pushed me further towards achieving my dreams. Those two performances—Argentina and with the English National Opera—were about four years apart. In between, I was back in South Africa, trying to figure out how to sustain my career.
It wasn’t easy. In Cape Town, I wasn’t being paid a proper salary; I was just receiving a stipend, and it wasn’t nearly enough to support myself in such an expensive city. There were a lot of challenges, but I held onto my faith and kept going, determined to make it work.
FAB: Opera isn’t necessarily the first thing people think of when it comes to South Africa. How did you fall in love with such a unique and powerful art form? Was there a specific opera or artist that inspired you to pursue this path?
Innocent Masuku: Oh, I always say that opera found me, rather than me finding it. Growing up in a small township in South Africa, I never really imagined I’d end up in opera. It all started through a competition called the ABC Motsepe SASCE. In high school, we had choral competitions, which are still going on today. They eventually added an opera section, which was for students who were performing well in the choral side of things. They called it the solo section or the ensemble section.
One day, my teacher simply picked me to participate. Up until then, I had been happy just being part of the choir, standing next to my friend who usually sang the solos. I never wanted to stand out, but when my friend transferred to another school, my teacher decided I should take over. It wasn’t something I had asked for, but it just came to me. I remember the day vividly—my conductor suddenly said, “Innocent, today you’re singing the solo.” I was so surprised, I even asked, “Me?” She responded, “Yes, you.”
So, I sang. And when I finished, the room was completely silent. Even I was hearing my voice seriously for the first time. I thought maybe I had done something wrong. But then, slowly, everyone started clapping, and I was in shock. I was like, “Are they clapping for me?” I tried to downplay it, saying it wasn’t that great, but my teacher confirmed that I would be the one singing the solo that year. From that day on, she encouraged me to take it seriously, and I started to believe in my talent.
Before that, I hadn’t taken anything too seriously. I used to be quite mischievous, and because of my behaviour in previous schools, I missed out on studying science, which had been my original plan. Everyone used to say, “Innocent is so naughty!” But joining the choir helped me shift my focus. Music gave me something to channel my energy into and kept me on track.
By the time I finished high school, I had no other choice but to pursue music. I had been studying tourism and economics, but I didn’t have any passion for it. I just studied it because there weren’t many other options. When my teacher asked what I wanted to do next, I told him I wasn’t sure, but I knew tourism wasn’t for me. She said, “Don’t waste time. Go into opera.” So, I auditioned for opera, got accepted, and the rest is history. It was truly a calling.
FAB: When you began your journey, was there a particular opera or artist who inspired you to pursue this path?
Innocent Masuku: Yes, there were quite a few. There was a woman named Nombuso Dladla who used to sing in the same choir and went to our school. She would visit us from time to time, and on one of those visits, she brought a CD. That CD was by Pavarotti, and it was the first time I had ever listened to his music. I connected with it immediately. Whenever I found a moment of peace, like when my family was out of the house—since we lived in a four-bedroom home and it was hard to find space for singing without making too much noise—I’d put on that CD and try to sing along. I didn’t even know the lyrics back then, so I was mostly just imitating the sounds, but Pavarotti became one of my biggest inspirations, even before I fully realized it.
Then there was Pretty Yende. I later discovered her work and realized she was from the same competition I had mentioned earlier. We had actually started out together, and to see how far she had gone in the industry was incredibly inspiring. Knowing that someone from my town could achieve that level of success made me believe that it was possible for me too. Pretty Yende was, and still is, a huge source of inspiration for me.
Key Lessons from Opera Icons for Innocent Masuku
FAB: Speaking of legends, you’ve had the chance to work with iconic figures like Maestro Kamal Khan and Willard White. What’s the most memorable piece of advice or lesson you’ve learned from working with such accomplished artists?
Innocent Masuku: I had the privilege of meeting Mr. White when he came to my school, the Guildhall School of Music and Drama, for a masterclass. Later, I had the incredible opportunity to perform with him at the English National Opera. The most valuable lesson I took from him was when he said, “Young man, this industry is tough. If your backbone isn’t strong, you won’t survive.” He stressed the importance of resilience. Sometimes, during rehearsals, you may feel unsure about the music, or you may be the only Black person in a predominantly white space. His advice was to stand strong and always remember that you are there because you deserve to be.
I’ve always been a humble person, but sometimes, my humility can be mistaken for timidity. Mr. White taught me that it’s essential to strike a balance—remain humble but confident in your worth.
From Kamal Khan, a renowned conductor who has worked with many superstars, I learned the value of diligence. Opera is an incredibly precise art form, and you must come to rehearsals fully prepared. He taught me that rehearsals aren’t the time to learn the music—they’re for performing it. If you haven’t done your homework and the conductor constantly has to correct you, it may seem like you’re not fit for the job.
Coming from my background, rehearsals were usually a time for us to learn the music together, but in opera, it’s different. You must know your part beforehand. When you step into the rehearsal room, it’s not to learn the notes—it’s to sing. The pressure is high in the opera world, but that’s where professionalism comes in. Meeting Kamal and other professionals helped me understand that rehearsals are for executing the music, not learning it.
FAB: Some people might wonder, isn’t it just about singing? Anyone can sing, right? What goes into preparing for an opera show that people might not realize?
Innocent Masuku: Oh, there’s so much more that goes into it than people think. Opera demands an extraordinary level of precision, especially from conductors and other professionals involved. Before fully transitioning into opera, I studied in jazz circles, and jazz has a lot of flexibility. Jazz musicians write their music, but there’s room for improvisation—you can scat around, change things up, and it works.
Opera, however, is different. In opera, you must sing and play exactly what’s written, and you must do so on the beat—no improvisation. It’s very strict. That said, within that discipline, there’s still room for creativity. Once you’ve mastered the technical aspects, you can bring your own interpretation and personality into the performance. That’s something I’ve learned to love about opera. It’s not just about following the rules—it’s about making the music your own without straying from the framework. That’s what makes it so captivating for me.
FAB: Your performances, whether as Tamino in The Magic Flute or in Porgy and Bess, are renowned for their emotional depth and technical brilliance. How do you get into character for such intense roles? Some actors follow Stanislavski’s method or have developed personal techniques. Do you have any specific rituals or routines that help you prepare?
Innocent Masuku: Yes, definitely. We studied a bit about Stanislavski and his methods, but over time, I’ve developed my own approach. It’s not exactly method acting, but it works for me. For instance, when I’m preparing for a role like Tamino, who’s a prince—something I’ve never experienced in my life—I start by watching how princes carry themselves. I’ve never met a prince, so I look up videos online to study their body language. Just before the performance, I take some time to be alone, with my phone off, and I visualize myself in the role.
The mind is incredibly powerful. When you picture yourself as something—say, a baboon, for instance—your body starts to adopt that imagery. So, for me, it’s about visualizing myself as the character. If I’m playing an old man, I see myself as an old man. If it’s Tamino, I imagine myself as a prince, even though I’ve never met one in real life.
With Porgy and Bess, though, it’s different. Porgy is a black opera, and since I grew up in a black community, it was easier to relate. Even though it’s set in America, I believe that black people, no matter where they are, share certain similarities in how we carry ourselves. For that role, I didn’t need to meditate much. I just stepped in and brought my own experience to the performance.
For example, my character was a vendor, and I grew up selling cakes with my mother, so I know firsthand what that feels like. It came naturally to me—I just had to be myself, be engaging, and smile. So, while some roles require more preparation, others, like Porgy, feel more instinctive and easier to embody.
Note: It’s incredible how you’ve developed your own method—combining meditation and observation to truly embody your characters. You meditate and observe your surroundings to learn how people behave in their most authentic forms. That’s very reminiscent of the approach taken by one of our artistic forefathers, August Wilson. He used to say that when writing his scripts, he would go to places where black people gathered, like restaurants, to observe how they spoke, moved, and expressed themselves. Instead of just imagining what a black character might do, he based his characters on real people. You can really see that in films like Fences, where you recognize the authenticity in the characters’ speech and behaviour.
Britain’s Got Talent: A Turning Point
FAB: Let’s talk about Britain’s Got Talent—wow! That’s such a massive platform. Even though you didn’t take home the trophy, you made an unforgettable impression. What was the whole experience like for you? Were there any particular moments that stood out while being on that stage?
Innocent Masuku: Yeah, Britain’s Got Talent was a life-changing experience for me, and it’s interesting how I ended up deciding to go for it. In the opera world, Britain’s Got Talent isn’t taken seriously. It’s actually frowned upon. So I knew that by going on the show, I might be closing some doors for myself in the opera industry. But my intuition told me it was the right thing to do, and I trusted that feeling.
When I auditioned, I honestly didn’t think I would make it very far. After my second audition for the producers, they told me that I had an incredible voice, but they felt I didn’t have a compelling enough story. If you look closely, many contestants on the show have powerful backstories—like working in a restaurant and struggling to make ends meet. I didn’t have that narrative. By God’s grace, I was already working with the English National Opera, and I’m a Harewood Artist.
When I had this conversation with the producers, I explained that I had applied for those kinds of jobs before but hadn’t been hired. It wasn’t for a lack of trying—it’s just that I didn’t get the job. So, in a way, I didn’t have the typical hardship story they were looking for, but that didn’t stop me from giving it my all on stage.
FAB: Hmmmn
Innocent Masuku: Honestly, the whole Britain’s Got Talent experience was life-changing. After BGT, I couldn’t do some of the things I used to do. In public, people would recognize me. One time, I was out doing my shopping, totally lost in my own thoughts. You know how it is—when you’re shopping, you’re just focused on what you’re picking up, unaware of who’s around you because, usually, no one knows who you are.
Out of nowhere, this lady came up to me, didn’t even greet me. She just said, “Innocent, you were brilliant,” and then walked off. I stood there, thinking, “Who is she? What is she talking about?” And then it hit me: she was talking about BGT. By the time I realized, she was already gone. It felt so surreal, like, Wow, this is my life now.
That experience was humbling. It taught me that nothing is impossible and that life can change in the blink of an eye. If someone has a dream, they should keep pushing and trust their instincts. If I hadn’t trusted mine, I wouldn’t have gone on Britain’s Got Talent because no one from my field does that.
I remember having a conversation with my colleague at the time. He asked, “Why did you go on Britain’s Got Talent?” I told him, “Because it’s a talent competition, and I think I’m talented.” He replied, “Yeah, I know you’re talented, but we don’t go on shows like that.” I asked, “Why not?” and he said, “Honestly, I don’t know the answer. Just don’t go.”
That struck me as strange, but I had already made it to the semifinals by then. When he advised me not to continue, I thought, “There’s no way I’m stopping now.” I knew people were expecting to see what would happen next, and I couldn’t let them down.
So yeah, overall, the experience has been humbling and eye-opening.
FAB: You’ve worked in different opera houses around the world, and now you’re with Glyndebourne. How does the experience of working with European productions compare to South African ones?
Innocent Masuku: Well, working with opera houses here is quite different from back home. In Africa, there are only a few operas staged each year, which means there’s a lot of pressure when you’re involved in one. Time is always tight. But in Europe, there are many more productions happening throughout the year. Here, an artist might do one or even two operas in a year. Back in Africa, because opportunities are limited and there are so many artists, we’re all vying for a spot in just one production a year. The competition is fierce, and if you manage to get in, the pressure to perform well is immense.
Despite these differences, I believe we’re doing well in Africa with the limited resources we have. Opera houses in Europe are often government-funded, and that makes a huge difference. Here, the government invests in the arts, including opera, while in Africa, we have to find our own sponsors. Unfortunately, opera isn’t seen as a priority by African governments. As you mentioned, it’s considered a niche art form. It’s still growing in Africa, and right now, many governments don’t see a compelling reason to support it financially. It’s perceived as something for a select few—often viewed as elitist or even associated with white culture. But that’s changing. We now have talented black opera singers in Africa, especially in South Africa, and even in places like Nigeria. I’ve seen Nigerian choirs perform opera beautifully. We have some incredible talent across the continent, not just in South Africa.
FAB: And what excites you the most about your current role there?
Innocent Masuku: Well, I believe we’ve just updated my website—maybe two days ago. At the moment, I’ve completed my contract with Glyndebourne. It was an interesting experience because I had to play a French character, which meant singing and speaking with a French accent. The catch? I don’t speak French at all! So, I had to speak English as though I were a Frenchman. It was a fun challenge, though the role was relatively small, making it easier to manage.
Innocent Masuku‘s Advice for Aspiring Opera Singers
FAB: That’s why we’re here speaking with you. You’re one of the few African artists making waves in the global opera scene. What do you think needs to happen for more African opera singers to gain international recognition?
Innocent Masuku: Gaining recognition is a complex process. Some might think it’s a science, but I believe it’s more spiritual. You can do everything you’re supposed to—go to all the auditions, even join shows like Britain’s Got Talent. I know a few others are trying that path, but their journey might not mirror mine. Their stories may unfold differently.
For me, it’s about trusting your intuition. You need to connect deeply with yourself, and that connection can be shaped by your personal faith or belief system. In my case, my faith teaches me that when I connect with my God, I’m connecting with myself, and He guides my steps.
There’s no clear-cut blueprint for success. What works for one person might not work for another. Personally, being diligent in my craft, acknowledging that my talent is a blessing, and trusting that God will take care of the rest has been crucial.
Some people ask me how I gained followers or recognition, expecting a formula. I tried the typical methods—posting daily, tagging everyone, promoting myself online—but it never really worked. Things happen when they are meant to happen. Timing is everything.
FAB: You’ve received some prestigious awards and scholarships, such as the Oppenheimer International Scholarship and the Countess of Munster Musical Award. Did these come with any special moments or challenges?
Innocent Masuku: Yes, absolutely. These accolades came with their fair share of challenges. When you’re competing for awards and scholarships like these, you’re not the only one—it’s always a competition. You might be up against 100 other people, with only five or six spots available. So, you have to be incredibly diligent and make sure you’re doing your best. In moments like that, I trust that after putting in the work, God will guide the rest.
It’s impossible to guarantee you’ll win when the competition is that intense. But if you consistently put in the effort, you’re giving yourself the best chance. For instance, as a singer, you need to rehearse daily, not just when you have an upcoming performance. It’s important to ensure that your entire body and mind are aligned when you’re on stage. By the time you’re performing, your focus should no longer be on the technical aspects of the music. You should be thinking about the emotions and the story you’re conveying.
Singing opera, especially in a language you don’t speak fluently, adds another layer of difficulty. You need to translate every word and understand what you’re saying so that your performance feels authentic. When you do that, your facial expressions and body language naturally align with the message you’re delivering. It’s easy for the audience to see when the music is just coming from the voice and not from within. Music is such a powerful tool, and genuine connection is key.
FAB: We’re really excited to see your upcoming performance with the RSNO in Jonathan Dove’s Uprising. Could you give us a preview of what to expect? How are you preparing for this role?
Innocent Masuku: The RSNO?
FAB: Yes, in Uprising by Jonathan Dove, if I’m correct.
Innocent Masuku: Oh, Sam, you’ve done your homework! But unfortunately, some companies still don’t treat us with the respect we deserve. They often don’t take us seriously, and that’s a problem. I’ve had to be one of the few who said “no” to certain deals in order to pave the way for the next generation of artists like me.
Unfortunately, I will not be doing that performance. My next stop is Africa. I’ve been invited to a wedding, and I’m really looking forward to it.
FAB: You’ve spoken a lot about being true to yourself, listening to your intuition, and all that. What advice would you give to the young Innocents out there, and even the older ones?
Innocent Masuku: Yeah, absolutely. What I’ve said before still holds true. Being an artist is unique because you’re serving people. They need to connect with what you create for your work to truly resonate. But it’s equally important not to rely too heavily on others for validation. If you focus too much on pleasing others, you risk losing your authenticity in the process.
For the younger generation—and even those who are already established—my advice is to stay dedicated to your craft. Keep honing your skills because there’s always room for growth. Challenges and hurdles will come, especially if you’re a Black opera singer in Europe or the UK. There will be times when people will question why you’re there, whether for an audition or something else.
Racism may not be as overt, but it still exists in subtle forms. The way I handle it—and I think it’s important to share this—is to ignore it. Some people feel the need to call it out when they face it, and that’s valid too. But often, I believe people do these things to provoke a reaction. By choosing not to react, you take away their power. It discourages them, and they may not try it again.
However, if you react exactly as they want, getting upset or frustrated, you give them control. It’s worked for me.
So, my advice is this: when you’re the only person of colour in the room, working with all Caucasians, you have to find your way of adapting. Sometimes, ignoring certain things helps because the energy you spend on fighting could be the energy you need for your performance. Save that energy, and channel it into your art instead.
Fashion, Beauty, and Lifestyle with Innocent
FAB: What’s your favourite fashion investment piece?
Innocent Masuku: Hats.
FAB: Hats! Obviously, that’s a signature look for you. (Man of many hats). Exactly. And speaking of beauty—your skin is glowing. What’s your go-to beauty hack for achieving glowing skin, especially as a man?
Innocent Masuku: I use a black facial wash. I can’t recall exactly what it’s made of, but it’s black.
FAB: Black soap?
Innocent Masuku: Yes, that’s it. I apply it to my skin, leave it on for a bit, relax, and then wash it off. Afterward, my skin feels so clean. That’s about all I do. Nothing too special—just some basic skincare afterward.
FAB: So you’re relying on some “black magic”? (Laughs) The black soap—awesome! Now, how do you recover from losing your voice after a tough performance?
Innocent Masuku: I drink a lot of water and eat raw ginger. If my voice is really strained, I have to eat more raw ginger—it’s painful, but necessary. I also discovered this spray in Vienna that helps a lot. It’s designed to target the vocal folds directly and helps heal the scratches that can sometimes develop from rehearsing. We weren’t meant to strain our voices like that, but when we rehearse, we experiment with different sounds, and sometimes that can cause some damage. That’s when the ginger or the spray really helps, especially when dealing with something like the flu.
Fun Zone: #FABFastFive
FAB: If you could jump into a pool of anything, what would it be full of?
Innocent Masuku: Full of water.
FAB: Would you rather have the ability to fly or the ability to teleport?
Innocent Masuku: To fly.
FAB: What’s your favourite childhood memory?
Innocent Masuku: It’s hard to pick one. It was when I won my first competition in an ABC Motsepe at age 16.
FAB: Where is one place you have always dreamed of going?
Innocent Masuku: Greece. Greece. Greece.
FAB: Would you rather spend the day at a botanical garden or an arts museum?
Innocent: Botanical garden, yes.
