Sarah Sweeting

You have sung Leonora in Il Trovatore before, and now you return to the opera as Azucena. Same opera, completely different woman. What's it like seeing the story from the other side?

I sang Leonora when I was 28 years old. The first time was for Opera Holland Park, then for Lyric Opera Ireland, then in the open air in a castle somewhere in the south of England, (where a very fierce storm arrived just as the Miserere began… perfect timing!). It was also around the time I was transitioning into the mezzo repertoire so I do remember thinking what a fabulous role Azucena was and how I wish I was singing that role instead! (Little did I know…!)

Leonora has the most beautiful lyrical music, requiring long lines depicting innocence and fragility, true Bel Canto singing.

In contrast, Azucena's music is more erratic with a feeling of restlessness, portraying a much darker and disturbing quality. It is interesting having experienced the two sides of the female leads, they are in two different worlds at the same moment in time. The innocence and purity of Leonora with the need for vengeance and all the suffering and trauma endured by Azucena. Two women, connected by one man with two very different experiences.

You've spent the better part of a decade playing magnificent, terrifying women for Melbourne Opera — Fricka, Ortrud, Venus, Brangäne. Is there a part of you that's a little bit thrilled to finally play someone who's allowed to actually lose it?

Ha! Great question! All these women, as you say, 'lose it'. Actually they are all very strong women who express their passion and fully utilise their power to get what they want.

I have to admit, there is something very cathartic about being 'allowed' to (as my sister Kate says), scream hours of German at lots of people!!

Seriously though, to explore these often dark roles is quite fascinating. You are investigating the psyche of some terrifying individuals and probing into what drives them to do what they do. Ortrud was, for me, one of the most evil characters to portray but was also the most thrilling. Suzanne Chaundy (the director) and I enjoyed exploring the motivation for Ortrud's character, (similar to that of Lady Macbeth), someone who will do whatever it takes by manipulation and coercion to gain power. But yeah, to answer your question, it's awesome to portray someone who (hopefully) doesn't resemble the 'real' me!

You've built an extraordinary career across opera houses and stages around the world. Of everything you've sung, is there a role you're particularly proud of, and why?

Every role I've ever performed I've been proud to have been part of the team creating the story alongside my colleagues.

I feel incredibly lucky and grateful to have had all the opportunities to perform some wonderful characters, along the way. Starting out, I had a list of roles that I wanted to sing, it was always about the characters for me and what they were experiencing. But before I sang professionally as an opera singer, I performed in musical theatre, as both a dancer and a singer. During my time working in the West End, I was invited to sing in the chorus for a one night only gala at The London Palladium. It was showcasing the music from the musical 'Hello Dolly', bringing in the famous 'Dolly's' from around the world, with the composer, Jerry Herman attending.

It was a night to remember and one that I felt proud to have been standing alongside Chita Rivera, Carol Channing and some of the top dancers and singers of that time. I thought I'd 'made it' and I remember thinking that anything after this moment…will be a bonus… I was 23 at the time.

Sometimes it's not so much a role that makes such a very special memory, it's more about everything coming together all at once in a perfect kind of way.

"Stride la vampa" asks you to relive the worst night of Azucena's life in front of an audience, every single performance. What's that actually like, eight shows in?

I will let you know after eight shows! But just going from my experience so far, she, Azucena, has suffered greatly from a terrible, horrific past and as you say, relives the horror in her first aria. Allowing the terror and fear to totally envelop you as a singer, would be a big mistake. You have to remain somewhat distant from the emotion, allowing the music itself to depict the drama, otherwise the voice would be compromised.

I remember working with the wonderful Ludmilla Andrew back in the UK many years ago. We were working on Liu and her final moments before her death, and I'd be so sad and distraught that I couldn't sing the words. She'd say to me that I had to think about having a cup of tea (how English!) as I sang the notes. This helped me 'turn off' as I was too emotionally involved. You just can't be too invested in the feelings of what the character is going through. You have to let the drama unfold through the masterful writing of the composer, not through having your own personal drama! It's a balance of producing the emotion through the words on the page, whilst remaining steady and technically aware at all times. Tricky!! Working on this with Raymond Lawrence (our conductor) has been a real treat. His understanding of the voice and of this repertoire has been invaluable.

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

One of the most electrifying, riveting and thrilling Grand operas ever written, with heaps of fabulous melodies and tunes that you'll be humming as you leave the theatre.