Many singers go through a change in fach mid-career, but my change has been making itself known for a long time, since the zwischenfach repertoire has always been where I feel most at home.
With fantastic roles like Female Chorus/RAPE OF LUCRETIA and Varvara/KAT'A KABANOVA successfully under my belt, it was finally time to make the change official.
In the summer of 2019, I was thrilled to sing the female lead of Lisbeth in MICHAEL KOHLHAAS, a rediscovered opera by Danish composer Paul August von Klenau, with the Danish National Opera. In this YouTube link, you can hear a brief excerpt from Act I, Kohlhaas and Lisbeth's Maienlied, with baritone Filippo Bettoschi.
My biography will tell you the details of my training and work history. I'm proud of the work that I've done and the amazing artists I've been fortunate enough to work with, and I hope you'll read that too . But these are the reasons I sing, what drives me.
My early training – both formally at conservatory and informally at places like the College Light Opera Company, an insanely intesive summer theatre producing nine shows every summer – showed me the importance of placing my core values of preparation, discipline and collaboration ahead of ego or self-promotion. Not just because it's the right thing to do – It's also lots more fun that way.
From my first years, before I ever began to sing, I loved words. Words – languages – are still in some ways my first love, because they are the vehicle that connects me to the music I perform and the audiences I seek to reach. Opera may not always feature the most elegant or profound texts, but finding the truth of them in the lyric and dramatic expression of the moment is what keeps me coming back. I'm a lucky gal.