How are you preparing to step into the role of a Rheinmaiden — vocally, physically, and dramatically?
Margaret Plummer:
“The two appearances of the Rheinmaidens in The Ring (Rheingold and Götterdämmerung) are musically very different from each other since they were composed 8 years apart. Götterdämmerung is much more musically complex so I am spending time making sure I have all of my Weiala in the right spots! The emotional state of the Rheinmaidens is also very different between the two so I am finding the places in the score where i can bring out the bitterness and loss that has come in since the Rheingold was stolen from them.”
Catherine Carby:
“I’ve just come out of a season of Hansel and Gretel, so I’m feeling very vocally “high” right now- the Witch is almost a soprano role, so I am working my way down a bit lower (am also singing the lowest of the Norns, so really trying to activate all my “mezzo” muscles and forget about the “soprano” bit of mezzo-soprano! Physically, I’m taking a holiday! Ten days on Corfu to recharge before heading back to Australia for some more sun”!
Samantha Clarke:
"I first will work it on it musically and then add my voice. Vocally I will work through any tricky corners and then dramatically it falls into place once all of that is secure. Obviously having an understanding of the Rheinmaidens and their role within Götterdämmerung and the whole cycle is essential!"
When performing an Opera in Concert rather than a fully staged production, how does your technical approach shift? Are there particular adjustments in your communication with the conductor and scene partners when the storytelling relies so strongly on the music and the voice?
Margaret Plummer:
“Personally I do not change my vocal production depending on whether it is staged or not, I feel like the healthiest and most beautiful vocal production is my aim no matter the context. Since the Maestro will likely be behind us (or at best beside us) we will need to make sure that we angle ourselves to keep contact with her. Though it is definitely easier to express a role when you have sets and props and costumes, I take real joy in being able to portray the drama solely from my facial and vocal expression, and so am really looking forward to these concerts.”
Catherine Carby:
“In some ways it’s easier (no props or difficult set to negotiate), but in some ways it’s harder. We rely on physical cues to reinforce our memory and performance, which you don’t get in a concert version. I’m conscious of utilising even more text and clarity of thought than I would in a staged performance, as there are no other “clues” to help the audience make sense of the action of the opera”.
Samantha Clarke:
“I don’t think my technical approach shifts at all. You may not have costumes, props and scenery to hide behind but I try to have a really strong understanding of my character so that comes across to the audience. Doing a concert version means we get to be up there next to Simone on the podium which is amazing and her energy shifts with each character so you get so much from watching her. It all feels a bit more intimate in a concert performance- there aren’t the scenery, costumes and props to hide behind.”
Margaret, Catherine and Samantha, you first appeared together as the Rheinmaidens in Das Rheingold in 2023. How does it feel to be back on stage together at the climax of the SSO’s Ring Cycle, bringing these characters full circle under Simone Young’s baton?
Margaret Plummer:
“Working with Simone Young is always a wonderful experience, but sharing the stage again with Samantha and Catherine (who are both incredible artists and just really beautiful humans) AND being led by Simone is a real gift! I am ready for some belly laughs and some incredible music making.”
Catherine Carby:
“I’m thrilled to be back with my dressing “roomies”! we had a hoot and I’m sure we will again. Much chocolate and gossip and silliness was exchanged. I’m also thrilled to be back working with Simone, it rounds out my year nicely- the year began in freezing cold Milan at La Scala with her for Walküre and will end at Sydney Opera House with Götterdämmerung in time for a sunny, summery Aussie Christmas. Perfect”.
Samantha Clarke:
"I had so much fun performing with Margie and Cath in Rheingold- it really felt like such a perfect fit with the three of us together. I’m so excited to be performing with them again and to be singing Wagner (or any composer for that matter) under the baton of Simone is such a privilege. It will be sad saying goodbye to the cycle- it has been such a lovely project to look forward to in my diary nearly every year now for the last four years!"
