Soprano returns to Washington National Opera for two roles

Fresh from her parallel U.S. debuts this past season with Washington National Opera and The Metropolitan Opera as Brunnhilde in Wagner’s “Siegfried,” Swedish soprano Irene Theorin returns.

This time she will perform two contrasting roles, the sprightly Ariadne in “Ariadne auf Naxos” by Richard Strauss and her profound Brunnhilde in a concert version of Wagner’s “G?tterdammerung.”

Regarded as one of today’s finest Wagnerian sopranos, she arrived in Washington last April to commence rehearsal, only to be summoned on short notice to replace an ailing singer at the Metropolitan Opera. Between performances there, she rehearsed and performed in Washington, earning raves at both venues.

Theorin is excited about her role in “Ariadne auf Naxos,” which opened last week and continues into the second week of November between the two Wagner performances.

“These are wonderful colleagues at WNO and the perfect conductor,” she said. “This opera is really funny and everything is well-done, not overdone. It’s a romantic piece, very smooth and easy to get into the music. It gives the audience all they could want, from comedy to serious, high notes and fast notes, beautiful costumes and crazy costumes.”

From the bright and sunny Strauss heroine, she will segue back to the dramatic Brunnhilde amid a stellar cast of Wagnerian veterans: Ian Storey, Alan Held, Gidon Saks and Gordon Hawkins. She cited her late start in opera as the key to obtaining the choice roles that most sopranos work years to achieve.

Theorin began vocal lessons only after her children were well along in school. Following her teacher’s suggestion that she study music at a university, she entered the Royal Theater in Copenhagen, where her training encompassed many major roles. She explained European opera schools functioned differently than the programs for young opera singers in the United States.

In her case, she went directly from opera school to the Royal Opera of Copenhagen, where she performed three to five new roles each season. Since her 2004 debut there as Brunnhilde in “Die Walkure,” followed by her 2005 debut in Nuremburg as all three Brunnhildes in the “Ring” series, she has become a favorite throughout Europe.

“Because I started very late, I had the stamina to learn many parts,” she said. “This is good because you have it in the muscles and can project a lot of colors into the role. This is the first time I’ve sung Ariadne since opera school, but playing a diva is in my muscles and I’m very comfortable with it. Although I love Wagner, I have other favorite opera roles, such as Tosca, Desdemona and Elisabeth. And I’m looking forward to a lot of new roles, including my first Electra in Salzburg.

“I sang Brunnhilde in a concert version of ‘Gotterdammerung’ with the BBC Philharmonica Orchestra, so I’m familiar with performing the role in high heels and a long dress. It doesn’t matter to me whether I’m in a traditional or a contemporary version of an opera. I’ve heard people talk badly about some contemporary productions, but for me as a singer, the communication works the same. Between us as artists, there is no difference. The only difference is the look.” Laughing, she adds, “And maybe not as much cuddling in a love duet.”