opera

Soprano Sarah Coburn

By Joshua Speiser

MAY 2008

Photo: Sarah Coburn As Lucie in Glimmerglass Opera’s production of Lucie De Lammermoor

When Placido Domingo takes the stage as the enslaved Ottoman emperor Bazajet in the Washington National Opera’s upcoming production of Handel’s Baroque tragedy Tamerlano, joining him on stage will be one of the rising stars of the opera world; Soprano Sarah Coburn.

Though only 30 years old, the Oklahoma native has already had a storied career. She began her professional career as a young artist at Seattle Opera in 2001 and made her main-stage debut a year later as Norina in the Florida Grand Opera’s production of Don Pasquale. Singing Italian, French and German, Coburn possesses a stunning voice that the Opera News praised as “blissfully sublime” and a charisma and stage presence that has earned her comparisons to legendary performer Maria Callas among others.

Shuttling between rehearsals in DC – for her pivotal turn as Bazajet’s headstrong daughter Asteria in Tamerlano – and New York – where she makes her second consecutive appearance as Domingo’s daughter as Yue-Yang in the Metropolitan Opera’s revival of The First Emperor - Ms. Coburn took the time to answer a few questions about her background, her operatic style and her plans for the future.

You’re originally from Oklahoma. Growing up, the opportunity to see and participate in opera must have been limited. What was your first exposure to the art form?

 ‘The first opera I attended was Madama Butterfly at the Met in 1997. I wasn’t really interested in a performance career until graduate school. I attended the Tulsa Opera production of Carmen in 1999, but I didn’t return until my debut there this past February in Lakme. I had a number of operatic opportunities at Oklahoma City University, where I did my graduate work.’

You’ve had an extraordinarily varied career for such a young performer. What have been some of your standout roles/performances?

“I have been so fortunate to work with so many great singers and conductors. Some of the best moments for me include singing Tancredi with Stephanie Blythe, the Mozart C minor mass with Seattle Symphony, Olympia in The Tales of Hoffmann at Cincinnati Opera, Lucie de Lammermoor at Glimmerglass Opera, and Linda di Chamounix at the Caramoor Festival. I guess those were some of my favorite moments, as well as some of the most stressful!”

Your performances have earned you comparison to Adelina Patti and Maria Callas among others. What singers have been particularly influential upon your career?

“When I was first starting out in opera, I listened to a great deal of recordings of Anna Moffo, Arleen Auger, Barbara Bonney, and Maria Callas. I would have to say that Renee Fleming has been the biggest inspiration to me in my career this far. Her voice makes me cry every time I hear her live, and I admire her amazing balancing act of motherhood and career.”

Opera has often been criticized as being both beyond the means and outside of the interest of today’s younger generation. In your experience, has this been the case?

“I think the most important thing we can do to bring in a new generation of opera lovers, is to make sure that we don’t water down the art form. We need not be apologetic. It is the culmination of all of the fine arts and can stimulate many senses at once. Yes, we need to appeal to a visually demanding culture. We can do that, but it must not be at the expense of the art form- meaning, the music must come first.”

In this production of Tamerlano, Placido Domingo - one of the world’s great tenors - makes his debut in the pivotal role of Bajazet. As Asteria, Bajazet’s daughter, you share ample stage time with Domingo. Does this raise the stakes, so to speak?

“Absolutely. No one works harder than Placido Domingo. He has an unbelievably hectic schedule, yet he is right there, in the moment, singing beautifully during rehearsals. It definitely keeps me on my toes; I want to do my best to complement such an amazing artist. His work ethic is incredible and inspiring.”

In approaching archetypal role like Asteria, do you interpret the piece primarily as an actor - via words and dialog - or primarily as a singer - via music and lyrics?

“Well.....sorry, but the music comes first with me, but I hope to portray Asteria’s emotional journey though my voice and musical choices, as well as dramatic choices.”

Tamerlano clocks in at an intense 3 hours and 25 minutes. How do you prepare for such a rigorous role?

“Vitamins and water.”

Tamerlano is among the most tragic of Handel’s operas. Is there one song or scene that you find particularly powerful?

“My favorite scene, musically and dramatically, is the duet between Andronico and Asteria in Act 3. It is so much fun to sing this kind of music with someone else; in a way, it feels like “singing into” someone else’s voice. Patricia Bardon (in a “trouser role” as Andronico) is amazing and it is a real treat to sing this with her.”

You travel extensively. (In 2008 - 2009 she appears on-stage in Seattle, New Jersey, DC, Boston, Portland to name a few.) What challenges does being on the road so much present personally and professionally?

“Traveling in general is hard on the body and voice. It can also be hard on relationships! I happen to have the most supportive, flexible, and understanding fiance in the world, so it hasn’t been too difficult yet. Ask me this question again, once I have been married for a year.”

When not on-stage, how do spend your downtime?

“Right now, I am spending as much time as I can with my fiance Chris and my dog Ivy. We are getting married in September, so right now my down time is spent shopping for bridesmaid dresses and picking out invitations!”

Tamerlano opens at the Kennedy Center on April 30th and continues on May 2nd, 4th,12th, 20th and 22nd. For tickets and information, go to www.dc-opera.org.