Meet the Artists
Karin Wolverton, soprano
as Fidelia
Describe your character in three words.
K: Faithful, guileless, virtuous.
What draws you to this role or this piece?
K: It’s always exciting to explore new roles, and one of the most compelling aspects of performing Edgar is that the opera is not steeped in heavy performance tradition. There aren’t hundreds of definitive recordings by famous singers setting a precedent, which creates a real sense of freedom. I can discover the piece on my own terms, without being overly influenced by interpretations that came before me.
Edgar is rarely performed. What about this work do you find most compelling for audiences?
K: Because Edgar is performed so infrequently, it offers audiences a unique opportunity to experience a lesser-known side of Puccini. You can hear both the influence of tradition and the emergence of the compositional voice we associate with his later masterpieces. That sense of discovery—both for performers and listeners—makes the experience especially compelling.
How do you prepare for a concert performance like this, and how does it differ from a fully staged opera?
K: Concert performances require a more conscious effort to communicate the drama purely through the voice. Without sets or full staging, we can’t rely on physical elements to enhance storytelling. The audience must be able to hear the character’s emotional journey. The anguish, the joy and the transformation of the character over the span of the show must be portrayed entirely through the music and how we deliver it.
The rehearsal timeline is also more condensed, so while the work we do together is intense and focused, each singer has to arrive with a very clear and prepared idea of their interpretation.
As a MN Opera Resident Artist alum, how does it feel to return to the company for this rare concert presentation?
K: Singing with Minnesota Opera always feels like coming home. In the best way! I’ve built relationships with so many people across the organization: the orchestra, costume and construction teams, administrative staff, board members, and of course the audiences. It truly takes a community to bring opera to life, and I’m always grateful to return to a company that has supported me and where I got my start. And as a hometown artist, there are definitely perks. Coming home every night, seeing my family and sleeping in my own bed at night are all wonderful perks of singing at home.
