Sara Jakubiak: It’s an incredible honor to be in the beautiful city of Milano and stand on the stage of La Scala!  For me, a debut and the December 7th opening, all at once, feels like being thrown into the fire. I actually thrive in high pressure situations!

OW: What does La Scala mean to you? What was the first show you saw at the house, and do you remember what the feeling was?

SJ:  I came to La Scala as a student once. I saw a beautiful production of “Dido and Aeneas.” I was by myself to experience it and it was truly special. I felt like I entered a jewel box of sound and escapism — like the world around me didn’t exist. It was powerful for me: the experience of art. I hope I can give some of that back on the stage myself.

SJ: Streaming always puts pressure on singers. It used to be that the audience was in front of you. Director, conductor, and cast understood the parameters, and shows were envisaged with that in mind. Now you need to make sure that your interpretation works on a screen as well as in the house. It can be a challenge for any production to keep the balance. Personally, I never felt that opera was an up close art form — but at the same time I am happy that people around the world have a chance to experience it if they are unable to travel to see and hear opera live.

SJ: Katerina is ruled by an inner dictator, and that is passion.  She makes all of her decisions based on her passion, with no moral compass. She dreams of freedom and ultimately gets it at the price of her own death.

SJ: Like all other roles, I sat with my cup of coffee at the piano and did text and rhythm for a week, then added the notes. Every role needs that strong foundation. I read Leskov’s novella and did a little reading on Russian history. I’ve always had a “focus on the work” attitude because I know, in the end, it gives you the building blocks for your own artistic freedom.

SJ: In Leskov’s original novella, Katerina is portrayed as lacking redemption and is depicted as a remorseless murderer. In particular, she murders a child — a detail Shostakovich omits. Shostakovich presents Katerina with a degree of vulnerability — listen to the way he orchestrates her! That lends greater context to her actions, and thus renders the character more nuanced. I have a lot of empathy for Katerina! 

OW: Tell me about the vocal challenges of this piece, and what are some of your favorite moments? 

SJ: I love challenges. Particularly with a role like this I must figure out what my road map is vocally. With roles this difficult, I need a plan for every phrase and each vowel. This role has long legato lines that demand pianissimi and forte, and there are parts of the role that are more declamatory, and you need a lot of different colors and tricks to bring Katerina to life. I’ve always been sort of a chameleon soprano so in a role like Katerina I get to use everything — it’s like painting! I think my favorite moment is the final monologue and the emptiness you must find in your voice. And I also enjoy the “chirpy” duet with my husband just before I’m about to kill him.

OW: Tell me about working with Riccardo Chailly, and what you have learned from working with him? 

SJ: I was always intrigued by Maestro Chailly because of a recording he made of “La Boheme” many years ago. In Mimi’s first aria, Chailly connects the phrase “il primo bacio dell’aprile.” It is simply beautiful — I have loved it all these years! Most sopranos and conductors breathe in this phrase. The recording is old but somehow this phrasing is so fresh in my mind it is something I can listen to over and over again. What have I learned from him? By example, Chailly is tackling what is a new opera for him with care and dedication, setting an example of persistence and growth that I hope to follow as I continue to explore and try new things as I get older. 

SJ: “Lady Macbeth of Mtsensk” is really an ensemble opera. There are numerous supporting roles, each of which plays a vital part in the narrative. The cast is highly talented, and we have dedicated significant effort to present a challenging yet meaningful story. I consider it an honor to be included among such accomplished colleagues. 

SJ: I don’t think there is a definitive answer to the question as performances are subjective. My hope is that audiences leave with a deeper appreciation for both the story and the music, finding meaning beyond the traditional expectations of an opera.