Backstage With Karen Cargill - BBC Music Magazine

The Scottish Chamber Orchestra season opens with Berlioz's Beatrice and Benedict. Do you think it's an underrated work?

I do. It's the most vibrant, evocative score, and all the characters are so well illustrated. Berlioz captures their essence really well. Of course he wrote his own text based on Shakespeare's Much Ado About Nothing. The text is the driving force of the piece, and Berlioz is so understanding of that and how to write for the voice.

Can you tell us a bit about your character Beatrice?

She's quiet obstinate. She thinks she knows herself very well and is sure that she doesn't want to fall in love. In fact it's a case of ‘my lady doth protest too much'. The first duet between Beatrice and Benedict has a mocking tone and it's full of vocal sparring. And then she has the incredible aria, a real test of vocal and emotional stamina, where she realises she does love him.

What are the highlights for you?

When I was student I sang the part of Ursula. Her duet with Hero and her trio with Hero and Beatrice are two of my all-time favourite pieces. The music is so calming and full of love. I love to sing it, but I'm also looking forward the luxury of sitting back on the platform and hearing my friends singing it.

You've been singing a lot of Berlioz recently: what has been like to be immersed in his musical world?

I've really enjoyed it. Berlioz writes so well for mezzo-soprano voice, and I love the French language. I've discovered a lot of Berlioz together with conductor Robin Ticciati for the first time, starting with La mort de Cleopatre. I've enjoyed discovering my passion for his music.