Opera San José is currently performing a production of “Bluebeard’s Castle” by Shawna Lucey.

The new production features tons of easter eggs for the bride Judith and the audience to discover, including items from prior Opera San José productions like “The Marriage of Figaro,” “Tosca,” “Il Segreto,” and “Cinderella.”

But the greatest discovery is likely to be Maria Natale. The soprano, known for her dramatic roles such as Manon Lescaut, Tosca, Cio-Cio San, Nedda, and Rosalinde, will take on the role of Judith and she recently spoke to OperaWire about Bartók’s iconic piece and this unique new production.

OperaWire: Judith is a complicated character who is curious about Bluebeard. How do you get into her psyche?

Maria Natale: This role has been incredibly intriguing because Judith is such a layered character. Her relationship with Bluebeard feels like an exaggerated depiction of a toxic relationship. The push-and-pull dynamic between them is what keeps her curiosity alive and excites her, even though she knows deep down that it’s a dangerous path. I think many of us can relate to noticing red flags but choosing to ignore them. Once I understood their distorted version of love and how the feed off each other’s energy, I gave myself the freedom to fully immerse myself into the absurdity of it all. Overthinking can trap me in a box, so I try to stay present and react in the moment.

OW: What is the most challenging aspect of interpreting her character, especially knowing that she has the chance to look away?

MN: The biggest challenge for me is maintaining the emotional intensity Judith experiences throughout the opera. Everything is heightened, almost surreal, so her emotions have to match that level of intensity. With only about an hour to convey her complex feelings for Bluebeard, the character switches are frequent, and it feels like one long, gripping mad scene. Even though Judith technically has the option to look away, it feels like she’s magnetically drawn to the doors—almost as if she has no choice but to open them.

OW: Tell me about Bartók’s music, which includes long lyrical sections and a lot of spoken music. How do you develop her character vocally throughout the evening?

MN: This piece is unlike anything I’ve ever performed, so it took some time to figure out how to express Judith’s character vocally. At the start, there’s an innocence to her, so it’s important for me to not become too dramatic too soon! Bartók’s orchestration uses such an incredible range of timbres and colors. Sometimes they are lush and beautiful, other times jarring and unsettling. It was fun for me to experiment with the colors in my own voice and focus not only on beauty of tone, but exploring tones that are eerie or even harsh.

OW: How do you pace yourself, especially against such an immense orchestra?

MN: The orchestra in this piece is absolutely stunning! Even though the opera is just over 60 minutes, there’s no break for me, so pacing is crucial. Fortunately, there are moments when the orchestration is sparse, allowing me to pull back and almost speak certain sections. This balance helps me sustain energy and intensity throughout the performance.

OW: What is your favorite scene in the opera?

MN: I’d have to say the opening of the opera, before Judith begins opening the doors. At that point, she’s still playful, and full of curiosity. With each door she opens, she becomes more corrupted, so the innocence of those early moments feels particularly important.

6. Tell me about your collaboration with Shawna Lucy.

MN: Shawna is truly brilliant. She has an extraordinary ability to view situations from multiple angles and bring fresh creativity to the table. Throughout the rehearsal process, we had many in-depth discussions about Judith’s psychological state, which were so important in shaping Judith’s character. Shawna’s interpretation of Judith takes the character in a slightly different direction, delivering a powerful statement that I find so compelling. And on top of that, she makes the rehearsal process fun, which is great when working on such dark piece!

OW: Tell me about working with the production team and exploring a production filled with Easter eggs.

MN: The production team has been such a joy to collaborate with. Steven Kemp’s set design is phenomenal—it gives me so many tangible elements to react to, which deepen my understanding of Judith’s journey as she uncovers each door and delves further into Bluebeard’s psyche. We are not in the theater just yet, but I can’t wait to see how everything comes together.

OW: Why is it special to perform this piece at Opera San Jose?

MN: Opera San Jose has been like a second home to me. It’s a company that has given me opportunities to debut new roles, push my boundaries, and grow as an artist in a supportive environment. Taking on a role as demanding as Judith feels incredibly meaningful here. I’m so grateful for Maestro Marcheso and Shawna’s encouragement to take on such ambitious projects, knowing they believe in my potential. This feels like the perfect place to bring this role to life.