Sara Jakubiak's view of the world
At the Deutsche Oper Berlin, she sings courageous women – first Heliane, now the title role in FRANCESCA DI RIMINI.
Love and passion When I sang the heroine in DAS WUNDER DER HELIANE, she taught me something about love. She knows that she cannot escape her unhappy relationship with the tyrant ruler – even if she refuses him physically. One day she meets a stranger, and an emotion she has never felt before descends upon her. A selfless, pure, extreme love, to which she is immediately willing to sacrifice everything – a transcendental experience. Heliane has the ability to abandon herself completely. I hope to know such an intense form of love in my own life. Nudity and courage As Heliane, I am totally naked in one scene. This happens much less frequently in opera than in theatre – and if anyone bares all, it tends to be dancers rather than singers exposing their bodies. When the director Christof Loy asked me at the time whether I would be willing, I immediately agreed. As a singer, I expose myself far more on stage through my voice: my high C – that is naked; it is my pianissimo that makes me vulnerable, far more than my body. Perhaps we should question our notions of nudity in general. Honesty is naked. Tenderness is naked. To stand on stage without clothes is just a job. Freedom and courage Francesca and Heliane are courageous women. They resist the reigning order which has forced them to live without freedom. They ask themselves: do we want to be victims or liberate ourselves? And they choose freedom. They overcome their fears, they walk dark paths, they even risk their lives – because they want to change things. That is why they are role models to me, even heroines. They provide orientation when we are confronted with our own fears. I am often confronted with them: every time I go on stage I have to bear up to my vulnerability, to give myself. It takes courage, every time. Music and colours When I have overcome those feelings and walk on stage, I am rewarded: with intense colours. I have always perceived tones and notes as colours. That effect is particularly powerful when I sing on stage with a large cast and orchestra. That is why I am looking forward so much to finally performing Francesca live for an audience – to hear her colours gleam even more brightly.