Soprano jumps into Marriage
play, which director Neil Armfield did originally with Geoffrey Rush years ago.
“It’s sort of the same play put into opera but the difference is that Susanna is much more of a moral fibre.
“She isn’t the strumpet like most maids seem to be portrayed. She doesn’t give in, stands her ground and is honestly and truly in love with her husband and really wanted to get married.”
The opera takes place on one mad day at the villa of Count Almaviva and Pearson said it was a romantic comedy disguising the causes that fuelled the French Revolution.
“The original play was completely censored in its time for being too dangerous and subversive,” she said.
“It encourages the lower classes to see that they have the potential of ruling or at least having power over their own lives. The whole thing is quite dark but it’s a comedy that covers it up with wit.
“I love to see how Mozart and Lorenzo Da Ponte the librettist covered up the revolutionary ideas from the censors. There are so many little clues through the opera that have double meanings.
“It takes a lot of study but the more you do, the more you see.”