For many young opera singers, the dream of performing at a major theater in a lead role is one that they work many years to achieve. For some it comes through moving through young artists programs, and ensemble programs while for others it works through competitions. And for some, the breakthrough comes with an unexpected call.

Think Angela Meade, who made her professional debut in 2008 at the Metropolitan Opera stepping in for an indisposed colleague in “Ernani” or Salvatore Licitra who made an unexpected debut in 2002 at the Metropolitan Opera in “Tosca.”

For Rachel Fitzgerald, that came on June 28 when she was called to step into Santa Fe Opera’s “Don Giovanni” production in the role of Donn Anna making her breakthrough debut. Up to this point in her career, the soprano had performed in several choral ensembles and had performed lead roles with Indiana University, Mid-Ohio Opera, Opera Project Columbus, and University of Cincinnati College-Conservatory.

OperaWire spoke to Fitzgerald on her debut with Santa Fe Opera and taking on this huge responsibility.

OperaWire: When did you get the call that you would be doing the role of Donna Anna? What did you feel?

Rachel Fitzgerald: I received the call on Friday, 6/28 at 4:30 p.m. I felt overwhelming excitement, gratitude, and nerves. It was a thrilling experience

OW: What does it feel like to get your first lead role after you were only scheduled to be an apprentice artist during the festival? What does this step mean to you?

RF: Part of being an apprentice at the Santa Fe Opera is being a cover artist. We all have various responsibilities and assignments. That being said, when I started this summer, I did not imagine this opportunity arising. I feel so thankful to SFO for trusting me with this role. This step is humbling and exhilarating.

OW: What does it feel like to make your professional opera debut in Santa Fe?

RF: Truly a dream come true. I’m still processing all the emotions. I am grateful to Santa Fe Opera for having faith in my abilities and giving me this opportunity.

OW: Tell me about the role of Donna Anna. How do you see her character?

RF: As a cover, you have to approach the role as the principal artist does and be ready to step into the world that the director and your colleagues have already created. Our director, Stephen Barlow, made the point that Donna Anna’s vengeance drives much of the plot and I agree.

OW: When was your first encounter with Mozart’s music and how does it feel like to sing this opera for such a major debut?

RF: Mozart is one of the most prolific composers of all time. I have grown to love singing this repertoire and hope to sing it for many years to come.

OW: Tell me about the vocal writing of Donna Anna and how it suits your voice.

RF: The vocal writing of Donna Anna presents challenges, but I feel my voice fits the role and I enjoy singing it.

OW: Throughout the past years you have worked in many choruses. How has this prepared you for singing a principal role?

RF: While it is a different skill set, I fell more in love with opera singing in choruses.

OW: Besides Anna, you will also work as an apprentice with Santa Fe. Tell me about this work and what excites about spending your summer in Santa Fe.

RF: My other Santa Fe Opera assignments include three choruses: “La Traviata,” “The Righteous,” and “Elixir of Love.” Also, as apprentice singers, we have two nights of scenes in August. Meanwhile, we coach with incredible faculty and guest artists. Spending the summer here is wonderful. I look forward to continuing to work on my craft in the most beautiful location, with colleagues who inspire me every day.

OW: After this debut, what are you looking forward to? Will you continue the competition route?

RF: I look forward to more singing. I will cover the Countess in “The Marriage of Figaro” and Nedda in “Pagliacci” at Pensacola Opera this season and will continue to audition this Fall.

OW: What are your hopes and dreams for this career?

RF: I want to continue to do what I love – sing.