Helena Dix

Your career has been defined by women of extraordinary power: Norma, Elisabetta, Lady Macbeth, Lucrezia Borgia. Leonora is in many ways the opposite: a woman to whom things happen rather than a woman who makes them happen. What made you say yes to her, and what has she surprised you with?

This role has been possibly one of my most desired roles to sing for sometime now but I wanted to wait until I knew that I could give her justice. I actually disagree that she's a woman to whom things happen rather than who makes them happen. Leonora is the one character who actually changes the course of events and isn't imprisoned by history.

I wonder whether Leonora is actually Verdi's answer to the accusation that romantic heroines are passive. On the surface she appears to be moved around by the plot. But if you track the decisions, she may be the engine of the plot.

Leonora's music sits at the intersection of bel canto and the heavier Verdian dramatic style that would follow, she needs the coloratura flexibility of a Violetta and the weight to carry the final act. How do you hold those two demands in the same voice on the same evening?

How long have you got for me to answer this? I think what is important are the 'smaller' vocal choices. What I mean by this is the vocal sections that are less charged have to be sung in a way that creates no stress and total vocal freedom. Often the biggest moments just need a very structured lead up with a sensible approach. Then the cords have less fatigue and are able to transition easier between the chest, mix and head voice that is needed for the entire opera.

Verdi writes Leonora with tremendous dignity, even in her most desperate moments, she is never passive. What are your thoughts on the reasoning behind this?

This opera is full of heightened emotion and intensity from every character. If Leonora was passive it would be out of character for the style. By keeping her dignity she is in control the whole opera, the choices she makes are hers and pave the outcome.

In addition, the soprano is never allowed to be the dull one, surely? Plus this dignity is reflected in her status and vocal palette, so the role (and all roles in this opera) requires a sensational sweep of technical hurdles.

Leonora's final act is one of the most vocally and emotionally demanding in all of Verdi. How do you prepare yourself to go to that place — and how do you come back from it afterwards?

I think for the entire opera Leonora is making such hard decisions that lead to her final act of courage. The emotions and sacrifice are huge. But the whole time I feel that she leads into this with determination. Leonora is the one character who repeatedly chooses. She chooses Manrico before the opera begins.
She chooses him over social standing.
She decides to enter the convent rather than be possessed by Di Luna.
She negotiates directly with Di Luna.
She chooses poison.
She engineers the final outcome herself. That's astonishingly bold.

How I come back from it is yet to be seen! Watch this space.

You have given Melbourne Opera audiences some of their most memorable nights: Elsa, Norma, Elisabetta. What does it mean to come back to this stage in this role?

Melbourne Opera are my operatic family. So to make any role debut here, especially one I've dreamt of for so long, is always a dream. I feel that Leonora is going to show my home town something very different both vocally and emotionally from what I've done before. Working alongside Raymond Lawrence is also the best partnership and guidance I could ask for.

If you had to describe Il Trovatore in one sentence, what would you say?

Think Shakespeare after too much espresso: duelling noblemen, a love triangle, a baby switched at birth, revenge, mistaken identity, a bonfire, and four singers who have absolutely no choice but to give everything they've got.