The Toronto-based soprano is performing in the upcoming Dido and Aeneas and hopes to see a few changes in opera
to a modern audience, I think about the paradox of women in power. Historically, women have been forced into a binary of “powerful” or “domestic.” Female leaders are expected to sacrifice their worthiness for love. Regretfully, these are tensions women still struggle with today.
As an interpreter of these characters, I find this so complicated. On one hand, I question what it means to embody these women. What am I contributing to by telling these stories? On the other hand, I see the importance in sharing the history of this struggle. There is a deep care that is involved in portraying any human going through emotional struggle – sharing it through full-body, deep-bones screaming that takes up space, fills a room and forces attention.premiered in 1689.
It’s a ton of work, but I’m bored with the old-world notion that opera singers only sing. I’m a mom, a partner, a daughter, a friend. There are so many sides to myself that I bring to my work. Of course, opera is by no means universal. Nothing is. But what baroque opera does – especially those based in myth or legend – is it allows us to explore big emotions and big sensations in a safe way.One of the things I learned during the pandemic was how healing it is for me to sing. I need it in my body and my spirit.
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