Stepping into the Tormented Character of Ophelia

Text : Véronique Gauthier

Two years after her time as a young artist at the Atelier lyrique de l’Opéra de Montréal, Sarah Dufresne returns to Montreal for the production of Hamlet by Ambroise Thomas, directed by Alain Gauthier and conducted by Jacques Lacombe. Her challenge is immense: playing the demanding role of Ophelia in this tragedy inspired by Shakespeare’s play. A double challenge, as it is both a vocal and theatrical feat.

A First Contract Setting High Expectations

Though this marks her first contract as an independent artist, the soprano is no stranger to the stage. Following her time at the Atelier lyrique de l’Opéra de Montréal, her clear and agile voice took her across the ocean, where she spent two years as part of the Royal Opera House’s young artists' program, performing in numerous productions.

“While I was at the Atelier during the pandemic, there were fewer productions. In England, I was able to develop both my stage and vocal skills and discovered more about the artist I am,” she explains.

For a debut contract in the big leagues, defending the role of Ophelia is quite something! “It was definitely on my list of dream roles to sing one day. But I never expected it to happen so soon in my career! It’s an incredible opportunity. It’s an intimidating role with a daunting score that carries its share of responsibilities.”

Ophelia’s Torments: The Responsibility of Tackling Mental Health Issues

The lyrical repertoire is full of larger-than-life characters rooted in mythology, legends, fables, or situational comedy. Often portrayed broadly, they illustrate or enhance a specific narrative angle. With such roles, Sarah says she develops a “human-to-character” relationship during her preparation. “Their reactions go beyond the realistic behavior seen in everyday life”, she says. But with Ophelia, her approach is genuinely human-to-human.

The character’s fate, descending into madness and ultimately leading to her death, is well known to the public. Portraying issues as weighty as those related to mental health comes with great responsibility for the artist. Sarah is fully aware and approaches it with the necessary sensitivity. “So many people have coped or are coping with mental health issues, or have been close to someone who may have ended their own lives. It’s a very delicate subject.”

The soprano approaches her role with the same empathy, love, and kindness she would show to a friend going through similar hardships. “Ophelia is very human, with genuine feelings that everyone can relate to. She is young and must deal with so much, more than anyone could bear! She carries the weight of multiple traumas at an age where one lacks the tools to confront them. She is a complex character, and I am excited to see what I can bring to her.”

The madness scene perfectly illustrates the character’s complexity and challenges. “Every time I sing it, I end with tears in my eyes. I feel like I’ve gone through Ophelia’s entire emotional journey, with multiple swings between different states of mind. She doubts her feelings, what is real or not.”

Drama and Beauty

True to the tradition of tragedy, no one in Hamlet finds a happy ending. Like a snowball effect, society destroys itself from within, as does the royal family, spiraling down. Yet amid the drama, there is great beauty. Beauty found in certain moments of the story, such as scenes between the Queen and Ophelia, and above all, in the music.

“The death scene is stunning. At a certain point, the chorus hums a melody that Ophelia sings in the madness scene, and then Ophelia reprises part of the love duet she sings earlier with Hamlet. It is the most beautiful thing, as if it closes the circle, explaining why all this happened. It encapsulates her short life. The orchestration is superb, and I think people will cry! It’s very powerful and heart-wrenching.”

The magnificent score, rarely performed in opera, also presents a significant challenge for the soprano. “Ophelia is a role known for being very difficult. Not only because it is highly emotional but also because it remains high in the register. It requires a lot of endurance, and it is a challenge I am excited about. My goal is to make it look easy to sing for the audience listening to me so that they don’t feel the difficulty of the score.”

By attending a performance of the opera Hamlet, the audience can expect to be deeply moved, leaving with a resonant emotional experience. Though the story itself may not offer a happy ending, the journey can undoubtedly be transformative and memorable.

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