HOW DO YOU SING VIOLETTA? IN DANISH!?

On Saturday, November 15, there was a Musical Introduction ahead of the final run of La Traviata with Den Jyske Opera, taking place November 26–29. We presented a bit of music from the production, and I was interviewed by host and opera communicator Leif V. S. Baltzersen.Leif was kind enough to send me the questions in advance, and to prepare as well as possible, I wrote down my answers. So here is my interview about what it has been like — and what it is like — to work with the role of Violetta.

What is most important to you about the character of Violetta?

For me, the most important aspect is actually the emotional and the physical. Conveying her journey. Of course, it’s also essential to know the notes and meet the technically challenging demands of the music, but it feels as though when I succeed with the physical aspect, the technical challenges become easier. In that sense, the role is incredibly well written.

When you prepare a major leading role like Violetta, where do you begin? With the music, the acting, or both at once?

There are many elements involved. Traviata was the first opera I was ever introduced to. It’s the one that, so to speak, started the dream for me. One thing is, of course, the music, which has gradually been imprinted on me since I first heard it as an 8–9-year-old; another is the technical difficulty of the role. The first act especially is extremely demanding to sing.The first time I sang the role and really delved into the music was nine years ago, and I started with the most technically demanding part — the final scene of Act 1. Once that sits in the body, it becomes easier to focus on everything else.For me, Violetta is a very physical role because she carries this illness in her body that must develop over the course of the opera. I keep that in mind constantly. Right before I go onstage, I imagine where the pain is located — in the joints, the lungs, a headache, things like that. And how I can hide it from the audience at first, gradually letting the façade crack. For me, she should almost dissolve at the end. And that is a journey you must physically structure as well.

Do you listen to other sopranos’ interpretations?

OH yes! My first Violetta love was Licia Albanese, because my father swears by everything Toscanini ever conducted, and she sings on that recording. But I’m also a huge fan of singers like the immortal Maria Callas. I also listen to voices that, in all modesty, resemble mine a bit more, such as Ileana Cotrubas, and my latest inspiration is Lisette Oropesa’s recording. And I’m also incredibly inspired by my Violetta colleague Sofie Lund’s interpretation. <3

Violetta goes through an entire lifetime’s arc during the opera. How do you prepare for that just before a performance? Do you go straight on, or do you take time to tune into the journey?

As I said, it’s a very physical thing for me. Right before the overture, I stand in a specific spot onstage, hidden in the wings, centering myself and focusing inward on my body.

What happens along the way? Are you fully present in the moment onstage, or do you also think ahead about where you’re going next or even toward the ending?

The more I’ve worked the technical challenges of the role into my body, the freer I am to simply be present in the moment. It’s pretty amazing if you can reach a feeling that it’s impossible to do anything wrong — because you are your character in that moment and react as she would.

In some performances you sing together with your husband, Anders Kampmann. What is it like to be onstage acting with each other?

It’s really special. In the beginning, we hadn’t had much time together in the rehearsal room, so in the first run-through there were some practical things that were a bit tricky, because our other colleagues, for example, have different builds and sit or stand differently — so we had to find each other, even if that may sound strange when we’ve known each other for almost ten years.But even though I do not enjoy dying from Anders at the end, and even though I strive to treat my scene partner as the role they are playing, it is special to stand opposite your husband. To claim otherwise would be a lie.

Do you bring anything from the performance home with you and talk about the scenes over dinner? Do you rehearse staging together at home?

NO! When we’re home, we’re off! Well, we’ve discussed a few practical things, but otherwise I try to let work stay at work.

La Traviata was performed in August and then again on tour. What’s the difference for you between those first performances and now, much later?

I think the difference for me is mainly that the role sits much better in my body now. The danger of knowing a production so well is becoming too used to it. So I try always to react as if something is happening for the first time — so I don’t anticipate a situation but only respond when it actually happens.And the exciting thing about live theatre is that sometimes the timing shifts by a millisecond, or people stand slightly differently, or there’s a new person onstage, or something unexpected happens — and then you have to be ready to react. In that sense, it’s a new performance every night.

How did the rehearsal process for this production unfold? Did you also contribute ideas on how situations could be interpreted or performed, or did you follow the director’s instructions exclusively? Was there anything in this production that you had to get used to at first?

I aim to interpret the director’s vision, but I usually have lots of questions and objections if there’s something I can’t see myself in or something I need clarified. I have to see meaning in what I’m doing before I can do it. Otherwise, it usually doesn’t work, and then we have to change it until it does.There are often details, small things, sometimes unspoken things that make sense to me as the character but may not be noticeable to the audience. But all of that contributes to the depth of the character. Personally, I need the full story and development arc.

You have to do some costume changes onstage that many people might find intimidating to perform in full view. Is that difficult?

Well… At first I thought about it a lot. I’ve had some insecurities about my body after two pregnancies. For example, I’ve put on quite a few kilos that didn’t just disappear again. And my children are six and seven now, so I’m assuming those kilos are staying!But the body I have now is just as worthy of being onstage as the body I had seven years ago before my children were born — even quite undressed, as I am at certain points in the production. And I wanted to prove that. Especially to myself.Practically speaking, some of the changes also had to be rehearsed. And they happen incredibly fast!

I hope this gave you a bit more insight into the kind of task an opera singer can face, and how one might approach it.Thank you for reading!

Translation generated by AI