Soprano Sarah Coburn intended to become a music teacher, but after encouragement during her undergraduate days to pursue voice lessons, the Oklahoma native decided to take the advice. A decade and a healthy number of key awards and grants later, she is performing her fifth Lucia in Washington National Opera’s production of Donizetti’s “Lucia di Lammermoor.” “My journey to this role has been a bit different,” she said. “The first time, I sang the French version, followed by the Italian. When I sang it two years ago, I was sleep-deprived with a newborn, so my Lucia has evolved vocally because of the changes in my life. I look forward to this production with a double cast that allows rest between performances and the opportunity to learn from my colleagues.
“The Victorian setting is very thrilling, spare and spooky. The lighting sets a menacing tone. These are not rooms I’d like to hang out in. When I reach the mad scene, it’s all about letting loose onstage, not portraying a mad person. In this production, the audience will understand that it’s more about what the character feels and what she believes is happening.”
| Onstage |
| ‘Lucia di Lammermoor’ |
| Where: Kennedy Center Opera House |
| When: Thursday through Nov. 19 |
| Info: $25 to $300; 202-467-4600, 800-444-1324; kennedy-center.org |
Coburn is no stranger to Washington. She was a member of the Wolf Trap Opera Company the summer of 2003, followed by her National Symphony Orchestra debut as soloist in “Carmina Burana.” Two seasons later, she sang Amenaide in “Tancredi” with Washington Concert Opera and again appeared with them during the 2007-08 season as Elvira in “I Puritani.”
“That organization is a jewel and the audience so loyal. I’ve never seen anything like it,” she said. “It’s a joy working with music director Antony Walker and I was thrilled to sing a duet with Stephanie Blythe.”
Coburn concedes that it’s very tricky balancing her life onstage and at home. She travels with her son and a nanny, seeing her husband every two or three weeks. However, having a child has cured her of stage fright. Now her focus is on knowing that she will be going back to her real job after each performance.
“This production of ‘Lucia’ is spectacular,” she says. “I want the audience to take away an appreciation of opera and understand that there is some justification for the mad scene. Lucia is gripped very tightly by oppression, so they will see why she snaps and loses her sanity. I hope this helps a new generation to love opera in general because it’s so important for music to be a part of young people’s education.”
