This week, the Salzburg Festival will present a new production of Les Contes d’Hoffmann, featuring an exceptional cast of top performers. Kathryn Lewek will be taking on the demanding role of portraying all four heroines, a feat known for its rarity and complexity.
In preparation for her roles, Lewek discussed her approach and enthusiasm for working with her cast.
OperaWire: This is not the first time you have taken on the four roles. How has this opera evolved for you after doing it before?
Kathryn Lewek: Whenever I return to a role, I enjoy discovering a more nuanced and complex connection to the character – and that was certainly the case when I performed these roles previously, first in Berlin at the Deutsche Oper in 2022 and then at Palm Beach Opera. However, my recent experience in Salzburg has shifted my perspective on these characters entirely. It’s quite surprising how our director, Mariame Clement, has managed to stay true to the libretto while also presenting a refreshed and, in my view, more satisfying interpretation of their journey. My focus often gravitates towards the dramatic elements, but there’s also the vocal aspect to consider. Having participated in multiple productions over the past few years, I now feel more settled and confident in facing this unique challenge. The initial apprehension has eased somewhat.
OW: What is the most challenging thing about singing these four roles given they have different vocal writing?
KL: Singing all four roles in one evening presents several challenges. The opera is lengthy, and portraying all the heroines means I am onstage for nearly the entire performance – quite different from another role I’m known for, the Queen of the Night, which is more like a brief sprint. It’s a real marathon. My main challenges are linguistic. I’m confident in my vocal abilities for each role, but I need to manage performance anxiety to deliver the text accurately. As the opera progresses, the orchestration becomes denser, making it crucial for my French diction to stand out amidst the rich sounds of the Vienna Philharmonic. Earlier this season, performing my first Lakmé in Nice with a French cast was a fantastic opportunity to refine my French diction. Now, singing alongside one of the leading French singers of our generation, Benjamin Bernheim, has been an invaluable experience. Despite the pressure, Ben has been incredibly supportive, even when I make mistakes in rehearsals. His good-natured teasing about a rehearsal blunder, where I mistakenly sang something amusing about slapping my father, helped ease the pressure and made the experience more enjoyable.
OW: How is this production reinterpreting this classic?
KL: I recall my initial conversation with Mariame nearly a year ago, when she began outlining her vision for this production. I was both fascinated and excited, yet somewhat apprehensive about how she aimed to address the problematic portrayal of the heroines, infusing them with a strong feminist perspective. While I was thrilled at the prospect of bringing new energy to the opera, I was also nervous about my ability to successfully achieve this.
Though I have always admired the opera for its music, I have found its portrayal of the female characters troubling. They are often simplified, objectified, stereotyped, and subjected to the male gaze. In this production, we remain true to the libretto while introducing a fresh interpretation. The setting shifts to the film world: Hoffmann as a talented yet tortured cinema auteur, and Stella as a beloved movie star. Hoffmann attempts to script his idealised version of Stella—compliant, demure, and adoring—mirroring his high school crush, Olympia, who was his first leading lady in a high school film project. However, Stella emerges as a strong-willed, independent, ambitious, and compassionate woman who refuses to be relegated to a life of matrimonial servitude, despite her affection for Hoffmann. Her refusal to be controlled and her commitment to making choices that align with her own life is truly refreshing.
OW: What is your personal favorite and why?
KL: I cherish each role for different reasons, and my perspective has evolved recently. A couple of months ago, I would have easily named “Antonia” as my favourite, due to the incredible duets and the final trio – musically, Antonia always stood out for me. However, in this production, I find myself appreciating the other roles much more. Stella, in particular, is central to the production, with the other roles branching out from her character in imaginative ways. She embodies the heart of the production, giving us deeper insight into Hoffmann’s obsession with her. Her strength of character and the confident choices she makes about her life and career are truly admirable. She is also a loving and compassionate partner to Hoffmann, never taking pleasure in his insecurities. Instead, she is troubled by witnessing the tragedy of his artistic soul consumed by his vulnerabilities.
On the other hand, Olympia, as Hoffmann’s 1970s-era high school crush, is a total delight. Her act is a whirlwind of entertainment, featuring teased hair, light-up laser effects, UFOs, pyrotechnics, and phallic crystals! It’s some of the most fun I have ever had on stage, rivaling my previous performance of Barrie Kosky’s “Orfée aux Enfers” here in Salzburg. It seems I’m destined to have a fantastic time performing Offenbach in Salzburg. Olympia is particularly intriguing, especially when she uses her final cadenza of the act to challenge assumptions based on her sex and body, embodying a fiery feminist spirit.
OW: How has it been to rehearse with the cast that you are doing this production with?
KL: This is an incredible cast! Every member is exceptionally talented, and the moments of laughter we’ve shared during rehearsals will stay with me long after our final performance. It’s interesting that three out of the four leading roles are filled by American singers here in Austria, though we’re all familiar to European audiences. This has made our summer more social than usual, and Ben has seamlessly blended into our group. We’ve enjoyed pool parties, backyard BBQs, and playground outings together, making the rehearsal process even more special.
The atmosphere in the rehearsal room owes much to our director, Mariame. Her brilliance is matched by her commitment to collaboration, as she encourages us to voice our opinions, concerns, and ideas. Her respect for everyone involved has set a positive tone for the entire production, creating a unique experience.
Christian Van Horn, an old friend, has been a joy to work with more closely during this show compared to our previous collaborations on “Magic Flutes” at the Met. He brings a remarkable confidence and gravitas to his roles, adding depth to the villains and offering a fresh take on their stereotypical portrayals. His natural command of the stage is impressive.
Kate Lindsey, whom I’ve been eager to collaborate with for years, has been wonderful to work with. Our children are of similar ages, and we’ve had plenty of supportive conversations about motherhood in our spare time. Her thoughtfulness shines through in her artistry. Her voice is a rich blend of chocolate and cream, and it’s a joy to hear her as Nicklausse, who sings some of the opera’s most beautiful music. Performing the Barcarolle with her is a dream, and I love blending my voice with hers in this iconic duet.
It’s hard to express how wonderful it has been to work with Ben Bernheim. I’ve already praised him for being such a great person, but it’s equally rewarding to collaborate with someone who experiments on stage as much as I do. Our interactions as Hoffmann and the Four Heroines continue to evolve as we explore the complexities of our relationships. We’ve enjoyed finding a more genuine portrayal of romance, moving beyond the typical operatic clichés. The dynamics between us on stage are intricate, but Ben’s easy-going nature has made working together a truly enjoyable experience.
For those who cannot be in Salzburg, the production will be streamed live on August 16 on ORF and arte.tv, and on Stage Plus Music on August 24.
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