Prudence Sanders’ CV is a testament to the variety of opera that exists within our state. Of late, the principal soprano has performed at the iconic WACA Ground, which earned her a WA Performing Arts Award. She also played Rapunzel in Into the Woods and has taken on numerous other roles before embracing her next challenge in Orpheus and Eurydice.
While playing Eurydice, Prudence will perform alongside a circus ensemble in this daring and fascinating combination of the two art forms. Between rehearsals, Prudence shared her feelings about her PAWA win, her diverse stage experiences, and how she tackles the complexities of opera.
First, congratulations on winning Outstanding Performer in a Supporting Role for your portrayal of Micaëla in Carmen! How does it feel to take home that award?
It’s an interesting one for us as performers – I’d say that an award is the furthest thing from our mind when we step on stage, as the focus is very much on our character and taking the audience on a journey. So, I suppose the award is a result of that, which means I’ve done a good job. It’s a lovely nod to be nominated and a little bit special to hang the award above my piano!
From Carmen at the WACA, to a Sondheim musical, and now to Orpheus & Eurydice with circus acts—there’s so much versatility in what you’re performing. What’s it like navigating the different demands of each performance?
We are very fortunate to have interesting programming curated by West Australian Opera, and each role that I play certainly has its own challenges. I always approach a character from the text and musical narrative whilst preparing, and then stay as open as possible during the rehearsal process. Directors work in a variety of ways and this particular opera is quite physical, so staying in shape and looking after myself certainly helps! I’m a big advocate of trying new ideas, both musically and dramatically, in order to keep things fresh and pushing the limits of what is possible.
Before taking on the role of Eurydice, did you have any prior connection to this opera? Can you tell us about that?
This is the first time I have performed this particular opera, however I spend a fair amount of time working on baroque repertoire, which has a certain style and flavour, so it’s lovely to explore lots of vocal colour and ornamentation. The story of Orfeo and Eurydice has been adapted by quite a few different composers, and my first opera at WAAPA was Monteverdi’s Orfeo, in which I had a small role – so there is something lovely about reflecting back on that experience.
Orpheus and Eurydice © Keith Saunders.
How does it feel to be part of such a daring production, combining two incredible art forms? Have you had to make any adjustments to how you perform?
We spent a week in Brisbane working with the Yaaron Lifschitz and the ensemble of acrobats from Circa. They are an incredible group, and watching them in the studio has been thrilling. Essentially, theirs is a physical expression of the drama and ours is a musical one. There is a continual flow and energy that exists between the singers and the acrobats throughout the opera, so both artforms complement each other beautifully. I do get to play in the aerial sling whilst singing towards the end of the show, which gives me just a little taste of how strong you need to be!
Orpheus & Eurydice is full of heightened emotions, especially in Gluck’s version where Eurydice is brought back to life at the end. How do you handle the swift emotional shifts from tragedy to joy?
That’s a great question! My responsibility as a performer is to be present in the dramatic thought, or impulse, as it happens. By playing this “in the moment” (and if I’m doing my job well!), it is then for the audience to ride the highs and lows…and be emotionally invested in the character and story. If singers over invest, the vocal and dramatic integrity can suffer. Something my drama teacher in school always said was “play the action, not the emotion”. I’ve held onto that for 25 years!
What are you most excited to share with audiences in this production?
A new way to experience opera. There are some ‘gasp aloud’ moments throughout the piece and I think such a fresh and innovative approach to telling this Greek legend with move and delight people.
Orpheus & Eurydice is playing at His Majesty’s Theatre from October 24 – November 2.