Written by Claira Prider
Inspiring insight into character connection and growing with a role, Samantha Clarke returns to the Joan Sutherland Theatre to reprise the role of Violetta
Her most recent performances in the role of Violetta in Verdi’s La Traviata have been described as ‘astonishingly mature and impressive’ ‘glorious and powerful’ and ‘fully deserving of the standing ovation she received’. Ahead of opening night next week, we chatted to Limelight 2024 Artist of the Year nominee, Soprano Samantha Clarke.
La Traviata follows the story of a 19th Century Parisian courtesan Violetta. Servicing the city’s wealthy men allows her to be ‘a woman of independent means’ as she hosts lavish celebrations in her luxurious home. Despite being the life of every party, behind the sparkling glamour and stunning gowns, she knows she’s dying of tuberculosis.
Verdi’s work was confronting for original audiences as it highlighted double standards of a male dominated society that encouraged prostitution but censored prostitutes. While Verdi pushed the envelope in showcasing morally dubious themes at a time when opera plots were usually based around biblical or historical stories, the work was consistently presented from male perspective, and this intrigued Director Sarah Giles. Giles has said about the production, there is a lot more going on in Violetta’s world that I wanted to explore. And so, I started to see another version of the production in my mind – where we saw more complexity and more sides of the story.
I’m struck by how much complexity there is in Violetta’s life. That through sex work she worked her way out of abject poverty and made herself a life that had more security than she could have ever had on the streets. But the very thing that has liberated her is also the thing that is now her prison. She simply can’t escape.
I was lucky enough to see Clarke debut the role in Perth, and her performance embodied such a fully realised character both physically and vocally, with great depth for the duality Violetta lives. Clarke showed Violetta’s love vs death, personal vs private, choice vs obligation with such humanity. In discussing what it’s been like working with Giles in her first professional Violetta she says, “The first time approaching it, I guess because I was back in Perth where it felt like a very open place, they allowed me to bring my own understanding and instincts. I feel so lucky this [production] was my first professional experience with the role because it’s really allowed me to be very true to myself. And actually, a lot of the things I feel strongly within the character are so embedded in the production.”
As I asked about what it was like preparing such an iconic role, and performing it now on the Opera House stage that has had many greats sing the same role, Clarke provided insight, “you really have to show up and know what you’re doing and know what you’re bringing and bring what Verdi has written and also what he wanted”.
“My singing teacher reminded me the other day how the voice is so incredibly sensitive to your emotions and it’s amazing how it grows with you.” Violetta goes through so much, and Clarke talks about how the challenges and growth she’s felt in her personal life have allowed her to grow into and strengthen the relationship she has with the character. “Obviously despite working on it vocally, I just think it’s always going to be a role that you’re constantly learning and progressing. That growing and exploring and adding to it never stops.”
Discussing what it’s been like coming back to the role since working on it with different coaches, Clarke reflects on how some parts of the work feel they are sitting differently physically and vocally, “this time I feel a vocal shift as well, it’s funny how you don’t notice big changes as the year is going by, but I notice a change coming back to it. I’m so led by how I’m feeling as a character and what I’m kind of trying to portray. Sometimes, I think, to my detriment.” Clarke talks about finding the fine line between self and character when singing, “because it’s such a vocally challenging role, it’s so important to find that sweet spot where you can feel like you’re pouring everything into it, and that you also have those moments of checking back in with yourself.”
“…you really have to show up and know what you’re doing and know what you’re bringing”
Not only presenting through a feminist lens, Giles’ production also gives a clearer, bigger picture that can be missed in more traditionally staged opera settings. “She’s come at it with a cinematic eye,” says Clarke, “she talks about really detailed images which she wants the audience to see and where she wants their focus to shift at specific times. I think that’s what audiences really enjoy, especially when she has those open sets when you can see into a couple of scenes at once.” The open set humanizes the characters by giving the audience context of the private and public life concurrently – such as the overture which shows a party unfolding in the room next door to Violetta’s bedroom where she catches her breath from a sickly coughing fit after a little morning sex with ..some wealthy guy in the opening scene. “Sarah [Giles] is really about that internal struggle and showing that and highlighting it for the audience.”
Clarke returns to Sydney Opera House to sing Violetta in Opera Australia’s La Traviata from 23 January – 27 February before she prepares to sing Violetta in Maxine Braham’s La Traviata production at Grange Festival in London later this year.
You can book tickets to La Traviata using the link here.
