You first performed the role of Bellini’s Norma in 2018. How was that experience, and how do you think it has informed your approach this time for Melbourne Opera?

I covered Norma for the Metropolitan Opera first for two seasons and then I got to sing it last year with Chelsea Opera, a company in the UK who do operas in concert. It was incredible. When you cover a role at the Met in New York, it’s fantastic and exciting but always very stressful. You find yourself just desperately trying to remember everything that’s going on in the production so you can obviously jump in if you need to. But when you have ownership over a role, like I did with Chelsea, you start to find very different things and distinct ways to colour it the way you want to. To do it in concert first was I think for me the perfect way around, because then I was aware of all the things I wasn’t happy with, and that I needed to work on musically. So being able to now bring it to the floor and work on it in a staged production is a very cool thing...

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