Coming Home: Sarah Coburn and Sandra Piques Eddy, I Capuleti e i Montecchi

Sarah Coburn and Sandra Piques Eddy play the star-crossed lovers Romeo and Giulietta in the fourth opera of the 2008 season: Bellini’s I Capuleti e i Montecchi. I had the chance to sit down and talk with these two long-time friends about their roles, the joys of working together and the difficulties of kissing your friend onstage.

Question: Both of you have had a long history with Glimmerglass Opera. What keeps bringing you back? What makes working here so special?

SC: We were both part of the Young American Artists Program here back in 2002. Both of us have returned several times as guest artists, but never in the same production! Coming here is always so comforting because it is like coming home. Artistically it is such a rewarding place to work. We are given a longer rehearsal period which allows us the time and the space to experiment. We can really sing it through and find the right way to do these roles! The fact that they are always new productions is great too. It is so fun to feel like you a creating a brand new piece from scratch.

SPE: We’ve both been saying that it is opera heaven. On this production everyone is so involved in the collaborative process. For example, in one rehearsal we were working on the fight sequences and all of the sudden Soon young Park [Lorenzo] perked up with advice because he has a lot of martial arts training. Ann Bogart [director] was completely receptive to it. She encourages a very collaborative atmosphere.

SC: It is the same with David Angus. He’s such a great conductor and treats all of us as true musicians. There is a lot of creative discussion about how best to do the piece, which is so rewarding.

Question: For both of you, this is your first time working with Anne Bogart. What has that process been like?

SC: Anne’s vision for the production is wonderful. She has really distilled the piece down to its central meaning. There are no gestures for the sake of theatricality. She really has a strong focus on telling the story in the most clear and compelling way. Nothing is extra or unnecessary.

SPE: We spent time going through the libretto and really understanding what we were saying and doing. With Anne, we retranslated our lines into contemporary English to get at the motivations of our characters. I think that will show on stage even though ultimately we are singing it in the original Italian. There is a clear intent in the acting that comes from doing that kind of work in rehearsal. I think audiences can sense it.

Question: For both of you this is the first time performing these roles. What is it like coming to a role for the first time?

SPE: It is so nice having a fresh work to explore. I’m fairly certain no one in the cast has worked on this show before, and I know it is Anne Bogart’s first time directing it. That is why it is so special. We’re all just bringing ideas into the rehearsals without preconceptions and really discovering what works.

Question: Bellini is one of the leading composers of the bel canto tradition. What is it like to work on a show from this repertoire?
SC: I think that all of Bellini’s operas, especially this one, are more than simply vehicles for singers. He’s certainly central to the bel canto tradition, but there is so much more to these pieces than showy arias! People sometimes forget that. The drama in this piece is just as compelling as the music.

SPE: David Angus [conductor] has been really helpful with getting that across. There are many repeats in the music and we’ve made sure that there are good dramatic reasons for them. When music returns we’re increasing the emotional intensity of the scene, or exploring a different idea.

Question: Sandra, in this opera you portray a male character. As a mezzo-soprano I’m sure you’re used to playing “pants” roles. How is playing a boy different from playing a girl?

SPE: I love pants roles! It is liberating in some ways because you can be a little broader and more brash than when you play female roles. Putting on the costume really helps me step into the character as well. Wearing those boots gives me the right attitude! Although I’ve done these types of roles before, this is the first one where I actually get to die onstage. Mezzo-sopranos hardly ever get to die!

SC: Wow. As a soprano, I die onstage all of the time! It is actually hard to think of a role where I don’t die!

SPE: I get to do everything in this show: fight tenors, die onstage and kiss sopranos!

SC: I’m sorry, but it is weird kissing her! We’ve been friends for so long!

SPE: The several months before coming into the rehearsals we joked about how weird that day in rehearsal would be when we would have to actually kiss! It has been fine, though. Let’s face it; it is easy to be in love with Sarah!

SC: Awww!

photos:
1. From left to right: Sandra Piques Eddy and Sarah Coburn in staging rehearsals for I Capuleti e i Montecchi. photo credit: Cory Weaver.
2. Conductor David Angus, director Anne Bogart, the rest of the creative team and Sandra Piques Eddy and Sarah Coburn in staging rehearsals. photo credit: Cory Weaver.