Emotion, passion & vulnerability

Interpreting verismo is a unique challenge, as it requires raw emotion and unrelenting intensity. Unlike the splendor of Wagner's operas, which extend over several hours, Cavalleria rusticana compresses its action into just 75 minutes. However, it is precisely this brevity that makes the experience all the more intense - an endurance run of emotion, passion and vulnerability, packed into a short but overwhelming musical journey. As one director aptly put it: "The true emotional drama must unfold before the eyes of the audience." Mascagni's music naturally prepares for this intensity with its catchy themes and poignant choruses. Nevertheless, it requires a clear strategy not only to persevere to the end, but also to achieve a steady increase in intensity.

Performing this opera feels like running a marathon in a very, very short time. From the moment Santuzza enters the stage until her most significant musical climax, she never leaves it. Over the course of more than half an hour, there is an incessant and steady build-up - an increase in desperation, anger and vocal intensity, especially in the high tessitura. This role demands a certain earthy, grounded quality from a mezzo-soprano, but also the power and brilliance of a soprano voice. It is a role that requires an excellent physical condition. I have to sleep well, eat well and prepare myself mentally as well as physically in order to strategically plan my performance. Every movement on stage must be deliberate and every note must convey the depth of the character. Working with my colleagues is a central part of this process. I take a lot from them and give just as much back. I am very lucky to be performing alongside Jonathan Tetelman. We are not only good colleagues, but also good friends, and that trust is priceless - it makes all the difference. And: I have always loved the music and the role of Santuzza. For me, this opera has a special place in my heart. It was my State Opera debut production in 2003, where I sang Lola for the first time. Returning to this opera now, embodying Santuzza again and performing in this house with this production feels like coming full circle.

I don't think Santuzza is selfish. She holds herself to a very high moral standard. This is particularly evident in her ability to distinguish clearly between right and wrong - a strength that really sets her apart. Her strength also lies in her unwavering commitment to honor and integrity. She adheres to principles that are neither impulsive nor reactionary, but deeply rooted in her convictions. This is particularly significant in the context of relationships. For Santuzza, making a commitment to someone or entering into a relationship is something profound - a promise made not just between two people, but in front of society and perhaps something greater. For them, love is not just a feeling; it is an expression of purity, honesty and commitment. When that trust is broken, it's not about ego or personal pride for her - it's about the sacredness of love itself. Her sense of betrayal comes from a deeply moral and spiritual place where the ideals of love and fidelity are paramount. Unfortunately, this very purity and strength can become her vulnerability in the social constellation that surrounds her. Her principles and unwavering dedication to what she believes is right can sometimes leave her defenseless in a world that does not always reciprocate the same values.

I have great admiration for Santuzza because I believe I understand the depth of her moral stance in distinguishing right from wrong. Sometimes upholding such principles means acting against others - even at great personal cost. It requires the courage to face yourself honestly, to be able to look in the mirror the next day and know that you have acted with integrity. Furthermore, it is a responsibility to pass on these values to those around you, especially those with whom you may share your life in the future. Santuzza condemns Turiddu not out of selfishness or pride, but because her desperation compels her to act. Her moral compass and her emotions collide in a way that is deeply human and understandable. In her duet with Turiddu, she tries in every conceivable way - both as a woman and as a human being - to make herself heard. But time and again she is rejected and denied, like a fly batting in vain at a light bulb. Out of this desperation, the words finally escape her lips - not because she had planned to say them, or because she really meant them.

What excites me the most is to incorporate the experience I have gained over the years - through learning from various productions, from colleagues and from life itself - into this performance. My aim is to touch the audience deeply, to transport them into her world with the music, the drama and the raw emotional and psychological intensity of Santuzza's story. Through verismo, the narrative becomes not only believable, but deeply real for the audience.