For many young opera singers, achieving the dream of performing in a lead role at a major theatre is a goal pursued over many years. This may involve progressing through young artist programs and ensemble opportunities, or succeeding in competitions. For some, a breakthrough happens through an unexpected opportunity.
Consider Angela Meade, who made her professional debut in 2008 at the Metropolitan Opera, stepping in for an indisposed colleague in “Ernani,” or Salvatore Licitra, who made an unplanned debut in 2002 at the Metropolitan Opera in “Tosca.”
For Rachel Fitzgerald, her breakthrough arrived on June 28 when she was called to step into the role of Donna Anna in Santa Fe Opera’s production of “Don Giovanni,” marking her debut. Prior to this, the soprano had performed in various choral ensembles and lead roles with Indiana University, Mid-Ohio Opera, Opera Project Columbus, and the University of Cincinnati College-Conservatory.
OperaWire: When did you get the call that you would be doing the role of Donna Anna? What did you feel?
Rachel Fitzgerald: I received the call on Friday, 28th June at 4:30 p.m. I felt a mix of overwhelming excitement, gratitude, and nerves. It was an exhilarating experience.
OW: What does it feel like to get your first lead role after you were only scheduled to be an apprentice artist during the festival? What does this step mean to you?
RF: As an apprentice at Santa Fe Opera, part of the role involves being a cover artist with various responsibilities. When I started this summer, I did not anticipate this opportunity. I am deeply thankful to Santa Fe Opera for trusting me with this role. This moment is both humbling and exhilarating.
OW: What does it feel like to make your professional opera debut in Santa Fe?
RF: It’s truly a dream come true. I’m still processing all the emotions, but I am grateful to Santa Fe Opera for having faith in my abilities and providing me with this chance.
OW: Tell me about the role of Donna Anna. How do you see her character?
RF: As a cover artist, you need to approach the role as the principal artist does and be prepared to step into the world created by the director and your colleagues. Our director, Stephen Barlow, emphasised that Donna Anna’s quest for vengeance drives much of the plot, and I agree with this perspective.
OW: When was your first encounter with Mozart’s music and how does it feel like to sing this opera for such a major debut?
RF: Mozart is one of the most influential composers, and I have developed a deep appreciation for his music. Singing this repertoire for such a major debut is a great honour, and I hope to continue performing it for many years to come.
OW: Tell me about the vocal writing of Donna Anna and how it suits your voice.
RF: The vocal writing for Donna Anna presents its challenges, but I feel that my voice fits the role well, and I enjoy performing it.
OW: Throughout the past years you have worked in many choruses. How has this prepared you for singing a principal role?
RF: Although it involves a different skill set, working in choruses has deepened my love for opera singing and helped prepare me for a principal role.
OW: Besides Anna, you will also work as an apprentice with Santa Fe. Tell me about this work and what excites about spending your summer in Santa Fe.
RF: My other assignments at Santa Fe Opera include singing in three choruses: “La Traviata,” “The Righteous,” and “Elixir of Love.” Additionally, we will perform scenes in August and receive coaching from exceptional faculty and guest artists. Spending the summer here is wonderful, and I look forward to developing my craft in such an inspiring location with talented colleagues.
OW: After this debut, what are you looking forward to? Will you continue the competition route?
RF: I am excited to continue performing. This season, I will cover the Countess in “The Marriage of Figaro” and Nedda in “Pagliacci” at Pensacola Opera, and I will keep auditioning this Fall.
OW: What are your hopes and dreams for this career?
RF: My main hope is to keep doing what I love – singing.
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