It’s one thing sing the role of Lieschen, a young woman whose devotion to coffee drives her exasperated father to distraction in one of Bach’s most charming secular works, the Coffee Cantata, says soprano Miriam Allan. Just don’t expect her to actually drink the stuff.

“Despite finding the aroma of it absolutely heavenly, I’m afraid I don’t like coffee at all,” she tells Limelight. “I’m a total tea girl.”

The disconnect only makes the role more delicious, she says. “Tonnes of acting required!”

Miriam Allan:

The Coffee Cantata forms half of Bach Akademie Australia’s upcoming Bach program Weddings and Parties over Coffee, paired with the luminous Wedding Cantata. It’s a concert that showcases two contrasting sides of the composer: profound spiritual tenderness alongside sparkling domestic comedy.

For Allan, however, the performances carry an extra dimension. Playing the irritable father who attempts to wean Lieschen off her caffeine habit is her own father, the distinguished baritone Christopher Allan.

The collaboration is one she relishes.

“Total dream,” she says without hesitation. “Dad is one of the performers I most admire and one of the finest musicians in the country.”

Their real-life relationship inevitably colours the father-daughter exchanges that animate Bach’s comic miniature. But now, Allan occupies a unique position between generations.

“I’m not only my father’s daughter but my children’s mother,” she says. “I now have the ‘joy’ of parenting teenage daughters and a 10-year-old son.”

That perspective makes the cantata’s affectionate battle of wills feel surprisingly contemporary. Bach’s satire may have targeted Leipzig’s emerging coffee-house culture, but anyone who has tried to persuade a determined teenager to give up an obsession will recognise the dynamic.

If Bach were writing the piece in 2026 rather than 1735, coffee would no longer be the problem, Allan suspects. “Knowing my teenage daughters … bubble tea or whatever creamy sugary nonsense Starbucks is serving up.”

Music was never something reserved for special occasions in the Allan household. It was simply the family language.

“Absolutely standard behaviour,” Allan recalls. “Everyone sang and learnt piano and at least one instrument. We were jokingly referred to as the Novacastrian ‘Von Trapp’ family singers.”

Her father was far more than a supportive parent. As one of Australia’s leading singing teachers, he profoundly shaped her musicianship.

“There is no doubt I would not be doing what I do without my Dad’s influence and guidance,” she says. “He is an astoundingly good singing teacher, who always has some profound wisdom to impart. It’s almost always simple, but fundamental to success and practical.”

Some inheritances are those you might expect, others less so.

“From him, I have inherited sitting at the piano to learn music; an adoration of dogs and a lifelong love of Billy Joel.”

They remain bonded by a similar musical curiosity.

“We are learners – constantly speaking to each other about experiences, teaching and things we’ve read. We are chronic over-thinkers but we do love to chat about music.”

Miriam Allan and Erin Helyard (Pinchgut Opera, 2022). Photo © Cassandra Hannigan

That lifelong conversation has taken Allan from Newcastle to the world’s foremost period-instrument ensembles. Over more than two decades she has performed with giants of the historically informed performance movement, including Les Arts Florissants, Collegium Vocale Gent and the Monteverdi Choir, while also embracing younger, more experimental groups such as Cappella Mediterranea, La Nuova Musica and Solomon’s Knot.

Those experiences have sharpened her appreciation of what Australian performers contribute to the international HIP scene.

“Australia has every reason to be hugely proud of the quality of its HIP output – on stage and in research,” Allan says, adding that a genre that carries a reputation for scholarly seriousness has started to loosen up a little.

“To my mind, the biggest revolution in HIP in recent years has been turning performance practice into a funnel for fun – moving away from rigid adherence to performance practice and instead embracing the inherent entertainment, drama and comedy. It has audiences relishing and enjoying HIP and it can breathe new life into ancient music.”

Bach Akademie Australia presents Weddings and Parties over Coffee at City Tabernacle Baptist Church, Brisbane on 5 August; Newcastle Conservatorium of Music, Newcastle on 7 August; at St James’ Church, Sydney on 9 August; Wesley Music Centre, Canberra on 11 August and at St Finbar’s Church, Glenbrook, NSW on 16 August.