Music Makers: In Conversation with Dame Sarah Connolly

We begin our new series, Music Makers: In Conversation, with Dame Sarah Connolly.

Sarah has shared the pieces that have stayed with her, shaping her work both on and off the stage.

In this series, we look beyond the formal lists of biographies and CVs to explore the repertoire artists return to, and the music they feel most deeply connected to.

We asked Sarah to respond to the following prompts:

Aria I hum round the house / sing in the shower

“Tu, preparati a morire" from Ariodante. I find it perfectly expresses my combative feelings towards certain politicians and a certain ex.

First aria I remember learning

Dido’s Lament and Wayward sisters from Dido & Aeneas. My school put on a concert performance with the local boys school. I wasn’t in the concert but the music and one or two of the boys interested me!

Aria I rely on professionally

"Verdi prati" (Alcina); "Va tacito" (Giulio Cesare); "Will the sun forget to streak" (Solomon).

Last piece of music I deliberately chose to listen to

Some Chausson songs I didn’t know.

Aria I feel most emotionally connected to

Dido’s Lament. There’s something so personal about her farewell and her apology to Belinda for causing so much drama and trouble. The sophisticated harmonic structure and perfect melody inspires me to sing it differently each time.

Aria I wish I could sing / would love to learn next

I wish I could sing Wagner’s Liebestod but that will never happen. I would like to learn the role of La principessa from Suor Angelica. It’s a devastating scene emotionally and the music is really dramatic.

To explore more of Sarah Connolly’s work, visit:
https://www.sarah-connolly.co.uk