Storytelling, Stamina & Believing in Love

Senta is one of Wagner’s most complex heroines. What fascinates you most about her character?

I find her strength and conviction really compelling – it takes a special kind of strength to pledge yourself to someone you’ve only known personally for a day, even if your father suggests him to you!

This is your role debut as Senta. How have you approached building her from the ground up?

As soon as I was offered the role, I began learning it, very slowly, with my vocal coach, starting in the hardest section – the Act 2 duet with the Dutchman. We sang it in extremely slowly, first on vowels and then slowly adding the language in. I have just come off a long run of Turandots in Sydney for Opera Australia, so I knew I really wanted to have Senta learned before they started.

While I was in Sydney I had a consultation on it with the wonderful Tony Legge in London via zoom, talking through the intricacies of the role and the score. More recently I’ve sought coachings in Germany with a couple of wonderful coaches who’ve worked on the opera at Bayreuth, just to refine the detail of the language and the interpretation. I also listen to almost any recording I can get my hands on; I find listening to lots of different interpretations very helpful.

Senta is driven by obsession and idealism. Do you see her as a romantic dreamer, or something more dangerous?

I see her as a headstrong young girl, who suddenly falls very quickly in love. One very beautiful aspect of the Act 2 duet between Senta and the Dutchman is how carefully they explore and map out their growing feelings for each other which I believe are very genuine.

You’re known for your powerful Wagnerian roles, like Brünnhilde. How does Senta compare vocally and emotionally?

Senta’s strength of conviction and the way she finishes the opera definitely foreshadow a lot of Brünnhilde’s strength! Vocally, because it’s one of his earlier works, occasionally the writing is incredibly challenging, because Wagner was both getting used to writing for the voice, and also so influenced by French music at the time – particularly Meyerbeer. So Senta has some technical challenges which are quite unique for Wagner’s heroines.

Wagner’s music demands both stamina and storytelling. How do you balance the technical and dramatic sides of a role like this?

I find in Wagner, the storytelling absolutely assists with the stamina – the more you seek out the intricacies and complexities in the score and libretto, the more nuance you can bring, the better you can drive the narrative and takes the load off.

In a concert performance setting, without full staging, how do you convey Senta’s intense inner world to the audience?

I’m hoping to show the audience a fully formed character, just with less movement and props. Her emotional intensity and strength are so important, I really hope the audience will really feel that from me. 

Senta’s belief in redemption is central to the story. What do you think makes that theme resonate with audiences today?

I think humans have always sought to add meaning to our lives, and observing the purity of Senta’s conviction is something I find personally very moving. We all want to believe in love, particularly when we’re young. Whether or not you think her belief is misguided, I think we can all see a part of ourselves in her.

You’ve performed internationally and are now based in Europe. What does it mean to be performing this role in Australia with WASO?

I was absolutely thrilled to be offered this role, particularly to be able to create it with WASO under the baton of Maestro Fisch. WASO is an incredible orchestra and our performances of Mahler 8 in 2024 were just so incredibly special. Maestro Fisch is an expert in this repertoire, and I can’t wait to hear his insights into my character and the opera!

Your voice has been described as rich, warm and powerful. How do you take care of it when tackling demanding repertoire like Wagner?

It’s a singers’ cliche, but it’s all about being sensible and unfortunately sometimes a bit boring! Taking care of my health through hydration, sleep, rest, exercise and good diet play a big part. Missing out on social events, avoiding smoke and alcohol and sometimes prioritising vocal rest over other things you’d rather do are all par for the course.

Being tired can let all sorts of bad habits slip in, so when I know I’m under pressure, I really try to guard my technique by warming up carefully. Singing well technically takes the load off the voice, which is so important for these really taxing roles. Favourites for me include Throat Comfort tea, electrolytes, a banana and some Mentos before a performance – as well as lots of water!

What would you say to someone experiencing The Flying Dutchman for the first time?

This is one of the best Wagner operas to start with for anyone curious about what all the fuss is about! Listen out for the stirring sailors’ choruses and the incredible way Wagner paints the sea through the music, stay for the love triangle and high notes! Keep your ears open for the sailors’ whistle near the end, I find it absolutely terrifying and so compelling!

The Flying Dutchman

Friday 8 & Saturday 9 May, 7.30pm
Winthrop Hall

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