Tamara Wilson, who is playing the role of Amelia Grimaldi in our production of Verdi’s Simon Boccanegra, sat down with me in her dressing room before the Piano Dress rehearsal to answer some questions for my blog. Simon Boccanegra opens at the Four Seasons Centre for the Performing Arts on April 11, 2009.

AN: What inspired you to become an opera singer?
TW: My mother is a musician, and was a music teacher. My house was always filled with music, with mostly Rodgers and Hammerstein musicals. I always knew I wanted to be a performer. In high school, I took my first voice lessons. The first classical song I learned was Music for a While by Henry Purcell—beautiful piece and I developed my classical interest from that day.

AN: What’s your favourite musical?
TW: The Pirate with Gene Kelly and Judy Garland.

AN: What would you consider to be your first opera role?
TW: My first role was Miss Jessel in Britten’s Turn of the Screw in college in Cincinnati. It was a very low-budget production and I helped hang the sets. I absolutely loved it and learned a great deal from that experience.

AN: What has been your most exciting career moment so far?
TW: When I performed Amelia in Un Ballo in Maschera with Houston Grand Opera two years ago. It was my first time performing Amelia, and it was amazing.

AN: What was your first impression of Amelia Grimaldi in Simon Boccanegra?
TW: I watched various DVDs and listened to a range of recordings of this role, including Kiri Te Kanawa’s. I found that many play this character as doe-eyed, peaceful and happy. My view of her is different; I see her as strong, one of the strongest characters in the opera actually.

AN: What is your favourite moment in Simon Boccanegra for your role?
TW: Definitely the “recognition scene,” when Boccanegra first finds out that Amelia is his daughter. The music in this scene is brilliant, and I feel it to be the emotional crux of the opera.

AN: What is your favourite part about working with the COC?
TW: This is the best organized company I have ever worked with and everyone is so helpful and kind. From day one it’s like I stepped into a little family!

AN: What is the funniest thing you have experienced on stage while performing?
TW: I am a huge klutz, so awkward stage moments usually happen to me before other singers on stage. When I was performing my last show as First Lady in L.A. Opera’s Magic Flute, I was wearing a beautiful, ornate flowing costume. When the Three Ladies exit, a pyramid closes; however, when the pyramid closed it caught my skirt! I was pinned to the set, surrounded by stage managers and stage hands frantically telling me to rip my costume. The Queen was about to enter, and the next scene could have happened with me still pinned awkwardly to the set, but luckily, with help, my skirt was ripped off and I was freed from the Pyramid, albeit without my skirt. The show goes on!

AN: What piece of advice would you share with young artist of the opera world?
TW: Many singers that I know are concerned about the step between being a young artist and a professional. I think that the most important thing is to be prepared vocally with a firm technique and mentally; when an opportunity presents itself you will be ready.

AN: What is your dream role to sing now?
TW: Desdemona from Verdi’s Otello.

AN: What is your dream role to sing in 10/15 years?
TW: The title roles from Strauss’ Arabella and Ariadne.

AN: What is your favourite opera?
TW: That’s a tough question; I can’t answer with one at the moment, so I will give you my top two. Stravinsky’s The Rake’s Progress—not in my repertoire, but I absolutely love the score. Britten’s A Midsummer Night’s Dream—I, actually, saw the production that is about to be done here at COC in Houston, and it is fantastic! I love Neil Armfield’s work and I will be working with him when I do The Turn of the Screw in Houston in the 2009/2010 season.