You were raised in Arizona and began your musical studies in the U.S. before building an international career. What first drew you to singing, and when did you know it would become your life’s work?
I have loved singing since I was young: making up songs, singing in church choir, harmonizing to the songs on the radio. As a teenager, I found I could express myself emotionally through song better than I could through conversations. I sang musical theater growing up, and loved performing. It wasn’t until I was studying vocal performance at ASU, however, that I discovered the fascination with classical music. I remember sitting in the library at ASU, listening to Anne Sofie von Otter sing Cherubino [in The Marriage of Figaro], and being captivated by her expression. I had no idea what she was saying, but I felt her playfulness and mischievousness as the young page boy and I was sold! It was right then and there I thought—if I could move people through music the way she moved me, despite the language I am singing in—that is joy!
You’re particularly associated with the works of Mozart and Strauss. What is it about their music that continues to resonate with you as an artist?
For me, Mozart and Strauss go hand-in-hand. Strauss himself was a deep admirer of Mozart, quoting:
The most perfect melodic shapes are found in Mozart; he has the lightness of touch which is the true objective…. Listen to the remarkable expansion of a Mozart melody, to Cherubino’s “Voi che sapete,” for instance. You think it is coming to an end, but it goes farther, even farther.
Having started my career singing Mozart’s Cherubino in The Marriage of Figaro, then developing one of my signature roles as Dorabella in Così fan tutte and continuing further into other Mozart roles throughout my career, I felt it a very natural transition to start singing Strauss’ Octavian [from Der Rosenkavalier] and Komponist [from Ariadne auf Naxos]. Their music is so full of emotional content. It’s so vivid and expressive the way Mozart colors the text and how Strauss develops themes within his musical scores. They both provide so much depth for me as an artist to develop my character and express myself through their melodies and musical phrases. I owe them the bulk of my career and wouldn’t be the artist I am today without them.
Many of your roles—such as Octavian, Dorabella, and Nicklausse—are richly layered characters. What do you most enjoy about bringing complex personalities to life through voice and music?
That is such a great question! I love how it challenges me to reach deeper inside myself—to explore and share the different colors, and facets of my own human experience. To invite connection with the audience through vulnerability.
Looking back, is there a performance or role that felt especially pivotal in shaping your career?
I remember the first time I sang Nicklausse [from Les Contes d’Hoffmann] in Munich with Rolando Villazón, there was a huge shift in my career. It was the right production, with the right people, and the right time and place for me to blossom as an artist and finally show what I could do.
You’ve performed on some of the world’s most celebrated stages. What continues to excite you about performing with orchestras and in concert settings?
There is nothing more exciting to me than singing with the massive power and colors of an orchestra. It’s the most exhilarating experience for me. And amplifying my voice in such a way that allows me to be one of the colors of such a powerful sound, fills my heart with joy, every time. It’s both a challenge and equally rewarding. I believe it’s one of the greatest celebrations of the human spirit: singing, vibrating with 100 other souls collectively playing with passion, bringing black dots on a page to life, together.
What are you most looking forward to in your upcoming performances with the Tucson Symphony Orchestra?
Creating something very special with the Berlioz and emoting Mozart’s incredible Requiem. There are so many magical musical moments that I cannot wait to be a part of.
As a vocalist, how do you approach storytelling when performing with a full orchestra?
This is something I ponder every time I sing concert repertoire. It’s easy to act on stage as a character in an opera, but as a soloist with the orchestra, you have to keep your composure, as well as still emote the meaning of the text theatrically. It’s an interesting challenge, to be honest. I’m looking forward to seeing how I do it this time. 🙂
Having grown up in Arizona, what does it mean to return to the region to perform?
It’s such an honor and joy coming back to Arizona to sing. Singing at home is just different. My family and friends can come! And for me, that is special. It also fills me with pride to be sharing music with the community who built me to be who I am today. It’s such a gift to be back home, singing in my beloved desert home.