Siobhan Stagg is stepping into the role of Juliette in State Opera South Australia’s production of Gounod’s Roméo & Juliette, the first time the opera has been on Adelaide stages in 25 years. We chat with Siobhan about this opera, her role, singing in French and much more. Read the interview below.
Siobhan, we last spoke in 2000 ahead of your Adelaide Festival recital of love music by French composers. Next week, you will be stepping into the role of Juliette in State Opera South Australia’s production of Gounod’s Roméo & Juliette. Juliette is such an iconic role in both Shakespeare and Gounod. What new layers or interpretations are you bringing to Juliette in this production?
Though I’ve been singing the famous Juliette arias for years, this is the first time I’ve played the role in its entirety. I find her to be a heart-led, loyal, bookish and thoughtful character. She falls in love with Romeo because he listens, really listens.
How do you balance the technical demands of singing in French with the emotional depth required for this character?
I don’t find singing in French more technically demanding than singing in any other language; in fact I relish it. The way the french vowels and juicy consonants sit in the face is pure joy. Adding emotional depth to the vocal colour is the most interesting part of the job for me. I have to be a bit careful in Act 5 when the devastation of Romeo’s death comes; it’s important to stay vocally connected to my breath and core support, rather than expressing the pain purely from the throat. I find the most emotionally gripping colours come from the emotional centre around your solar plexus.
Is there a moment in Roméo et Juliette that you find especially moving or challenging, and why?
When I was preparing the role, one of my coaches joked that it’s common for sopranos to die in opera, but not so common to die twice (as I do as Juliette). When a character is as richly nuanced as Shakespeare’s Juliette, the progression is somewhat organic and just pours out of you as the night goes on.
What has been your experience performing French-language operas, and how does working on Gounod’s Roméo et Juliette compare to other French repertoire you’ve sung?
Singing this opera is not so different to singing any other french repertoire. French is my favourite language to sing in – it’s lush and fragrant and ultra expressive.
What excites you most about playing Juliette in this production of Roméo et Juliette?
I am adoring the rehearsal process with our Director, Rodula Gaitanou. She is a deep thinker, feeler and leader. She studied violin, so she threads all the drama through a genuinely musical ear. She also studied physical theatre, so the staging is effective and honest in its physicality. Rodula knows how to accept what an artist brings to the table, then develop and layer the character from there. The perfect combination of push and pull.
What do you hope audiences will take away from your portrayal of this character?
I kind of hope they will not be thinking about my ‘portrayal’, but rather that they’ll leave the theatre thinking about the piece, its values and morals; gutted by the tragedy of such senseless hate, and inspired to share peace in their own lives. When I last saw Romeo and Juliet, that’s what I left feeling.
The SOSA production of Roméo & Juliette is being directed by Rodula Gaitanou. Have you worked with her before?
We had not worked together before, but I had heard only good things from colleagues. After the rehearsals so far, I’m a big fan!
French Opera
You’ve sung a wide range of repertoire internationally. What keeps you returning to French opera?
French opera is reliably beautiful music and always channels emotion over intellect. I’m fortunate to have a diverse repertoire in each season, yet this year is quite french centric, with Antonia in Les Contes d’Hoffmann at Berlin’s Staatsoper Unter den Linden as my next role debut.
You’ve performed at the Théâtre du Châtelet in Paris and Opéra de Dijon. What aspects of French opera culture have most impressed or inspired you?
I was lucky to start working with Raphael Pichon and Pygmalion quite early in my career, and have enjoyed regular collaborations with them over the years. Raphael has taught me a lot about instinctive making-music – how to approach rehearsals, experiment and take risks, keeping the music (and text) fresh, vulnerable and alive. I believe we keep ‘old’ music relevant by making it good. Gut-wrenching, thoughtful, evocative, bouleversant… the whole gamut.
How do French audiences differ from those in Australia or other countries where you’ve performed?
The French and French Swiss have the famous synchronised clap. When they really like something, the audience spontaneously starts to clap in time with one another; a sweet endorsement that it’s been a good night. An Australian agent once described how French journalists use the word fruitée as a compliment, whereas describing someone’s singing as ‘fruity’ in English might have a more ambiguous or negative connotation. Learning different languages is funny and fascinating in this way. The same word can have a very different subtext.
How has your experience performing in France influenced your approach to this production in Adelaide?
I prepared the role with top opera coaches in Paris, Geneva and Milan as well as french native speakers in Berlin, so in a sense my Juliette will be infused with the French perspectives through their teachings. My own spoken French has grown a lot through years of performing and working in French theatres and concert halls, which thus informs how I listen and respond more intuitively to the lines of the other characters.
Are there any particular French directors, conductors, or singers you’ve worked with who have shaped your approach to French repertoire?
As well as Raphael Pichon (mentioned above), another key collaborator has included Christophe Rousset and Les Talens Lyriques, who again feeds his artists with ideas for dynamic colour and panache. There are a great flock of outstanding French singers on the circuit right now, some of whom have become friends and cherished colleagues. I’m thinking of people like sopranos Sabine Devieilhe, Elsa Dreisig, Elsa Benoit and Melissa Petit. Tenor Roberto Alagna has been an incredible French counterpart to sing with… his commitment to story and beauty of sound is unparalleled.
Are there any French-language opera roles you dream of performing in the future?
Antonia is the next challenge for me… then gladly some Rameau, or Massenet again. I’d love to revisit Micaela in Carmen. And hopefully play Mélisande many more times.
How do you prepare for a role in a French-language opera compared to other languages?
Immersion. No matter the language, I always work with native speakers and in the native country, wherever practical and possible.
How does collaborating with a multinational cast and creative team enrich your performance?
Creativity is so much about exchange of ideas. Acting is reacting. The more ideas and impulses you are given by your partners on stage, the richer and more alive your performance can be. The growth through generous teamwork is exponential.
How do you see the role of French opera in the global opera scene?
It’s timeless; ever present and clearly important.
Why should audiences come see Roméo & Juliette?
It’s a masterpiece, pure and simple. Last time it was played in Adelaide was 25 years ago, so the opportunity doesn’t come around very often. Bring your tissues! The production is gripping, and the Adelaide Symphony Orchestra sounds incredible.
Anything else you would like to add?
If you’re mildly curious about opera but have never taken the plunge to attend a show in person, this would be the PERFECT place to start. It’s not overly long, a well-known story, and a feast for the senses. You might like to re-watch the Baz Luhrmann film with Leonardo DiCaprio and Claire Danes to get in the mood, and then be swept away by Rodula Gaitanou’s glorious staging, with colourful costumes designed by Takis and SOSA’s vibrant Artistic Director Dane Lam conducting a great cast. Hope to see you there!
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We thank Siobhan Stagg for this interview.
KEY INFO FOR ROMÉO & JULIETTE
WHAT: State Opera of South Australia’s production of Gounod’s Roméo & Juliette
WHERE: Her Majesty’s Theatre
WHEN: Four performances only:
- Thursday 23 October, 7.30pm
- Saturday 25 October, 7.30pm
- Thursday 30 October, 7.30pm
- Saturday 1 November, 2:00pm
HOW: Purchase your tickets via this link and under 30s via this link
HOW MUCH: Ticket prices are as follows:
- Premium: $189
- A Reserve: Adult $149, Concession* $134
- B Reserve: Adult $119, Concession* $107
- C Reserve: Adult $79, Concession* $71
- Under 30: $35
Have you ever seen a production of Roméo & Juliette?
