We welcome Laura back to OperaDelaware after her fabulous performance as Musetta in OD's 2008 production of La Boheme.
You've sung the role of Hanna before. How is this interpretation the same, how different?
This is the 4th Merry Widow that I've worked with - one in German and 2 other English translations. Each interpretation was different and so each offered different layers of approach. What is interesting this time is that Steve Mosteller, the conductor has used one of the other English translations I've worked with, so the 2 of us are on the same page in many respects. Add to this mix, Marciem Bazell, our director who has never staged Widow before and is approaching it with fresh eyes and Dan Neer, Count Danilo who is such a strong actor and Marciem's approach of talking about the scenes and we have really gotten to the strongest and deepest layer possible. With this production, there are no pieces of the puzzle that are missing - we're approaching this on all levels.
How is being a "wee bit" older and wiser changed your view of Hanna and how have you incorporated this into your interpretation of the role?
I think the thing I've realized more and more about Widow is that it really is more "true to life". Not just Hanna and Danilo but Camille and Valencienne experience that bittersweet aspect of having met the "love of your life", that "gasp" quality you feel when you meet that person who is different from everyone else. It's not tragic in the sense that no one dies in the end but while large parts of it are playful there is still that sadness that sometimes the love of your life doesn't stay in your life. And I think as you grow in experience you understand that more poignantly.
As an operetta, Widow has speaking parts as well as singing. As a "singer" who also acts (as every opera star should), do you approach a role differently when speaking as well as singing your part?
Speaking a part is a bit of a double-edged sword. There is a strength, a gift, if you will, in that you have total control over your delivery - it is not dictated by notes, rhythm, pitch - you totally control how you deliver the line. But, with that total control, comes a huge responsibility - you can't blame the composer, the conductor or the orchestra - it is totally on your shoulders. I always took acting classes as I think it is imperative for a singer to know how to act so speaking wasn't as scary as it might have been. And this cast is all very comfortable with acting-they can all talk.
Do you have an "ice breaker", something tried and true, that you rely on when you start a new production to help you establish rapport with the people who will be so spending so much time with over the next few weeks?
I always think of starting a new production as "the first day of school". You never know if your class will be great or if there might be some mean person, if the conductor will scream at you or if the director will be a "my way or the highway" kind of person. Again, this is kind of a double-edged sword situation - if the cast doesn't get along, well, you're only together for a short time but likewise, if it's a great cast, then you're only together for an amazingly short time. This is my second time at OperaDelaware and I have to tell you that both times, the cast has been amazingly nice. It's almost as if OperaDelaware has that as a requirement, that you have to have a prevailing sense of what's most important - and that is the music - and that you have to pull together to rise to the top. I know this will be one of those amazingly short periods of time.