La traviata 101 – Q&A with Sara Gartland

Sara Gartland makes her return to Opera Colorado to perform as Violetta Valéry, the powerful heroine of La traviata. Praised for her “gleaming column of sound” by Opera News, Sara dazzles in her performances of roles like Rusalka, Micaëla, and more. Keep reading to learn about Sara’s perspective on Violetta, what she enjoys about rehearsing, and the challenges she overcame during Opera Colorado’s 2023 production of Die tote Stadt.

Get tickets to Verdi’s La traviata this November 1, 4, 7, 9 at the Ellie Caulkins Opera House. >>

While this isn’t your Opera Colorado debut, since you acted in our 2023 production of Die tote Stadt, this will be your first time singing in an Opera Colorado production. Tell us about that, and how are you feeling leading up to this performance?

I am so excited to return and share both my voice and my acting with Opera Colorado’s audiences on the beautiful stage of the Ellie Caulkins Opera House. When I was here in 2023 for Die tote Stadt and was unable to sing due to a superior laryngeal nerve injury, it was devastating—for me and for everyone involved. That experience, however, led me to my extraordinary care team here in Denver: my voice pathologist and teacher, Kate Emerich, and my ENT, Dr. David Opperman. They put me back together better than ever, and I truly believe that if I hadn’t been in Denver when it happened, I wouldn’t have had such a successful outcome.

Only being able to act on stage during that time taught me so much—it forced me to listen more deeply to my colleagues, to stay completely present, and to communicate without relying on sound. That experience ultimately made me a stronger singer, actor, and musician. With Kate and Dr. Opperman’s help, I was singing again by the summer of 2023, and now to be back in Denver opening Opera Colorado’s forty-third season feels like the greatest privilege.

Violetta is a tremendous role, both musically and dramatically. How do you approach this role, and how does she resonate with you?

In 2023, I adopted the mantra “Choose Your Joy.” I think Violetta lives with that same spirit. She knows her time is limited—she has seen what this illness does to others—and yet she continues to live in the moment, making choices based on what brings her happiness. She never truly believes love is meant for her, but when she meets Alfredo, she throws caution to the wind and chooses her joy. Violetta is fiery, independent, and loyal—qualities I also recognize in myself—so I feel very close to her.

The role is both vocally and physically demanding, and what I love is how Verdi makes her voice evolve through the opera. In act one, she sparkles with coloratura and airiness; in act two, after leaving her life as a courtesan for the countryside, her music becomes deeper and more grounded; and in act three, on her deathbed, her lines are fragile and sorrowful. As an actress, it’s a gift to move through all those emotional landscapes and sing in so many different colors while telling her story.

You’ve participated in many operas that are less mainstream, such as Bluebeard’s Castle, Wozzeck, and more. How do those experiences compare to performing in La traviata, one of the most popular operas?

I love being able to revisit Violetta and sing something more mainstream—musically and vocally it feels easier, almost like balm for my soul and my throat. It’s also rare that I get to repeat a role, so returning to La traviata is a gift. The more life I live, the more depth I can bring to her story. In the end, characters like Judith in Bluebeard’s Castle, Marie in Wozzeck, and Violetta in La traviata all share a similar temperament: they are highly intelligent women navigating survival in a world that offers them limited opportunities outside of societal expectations. They are brave, clever, and vulnerable. Exploring those qualities through the distinct musical languages of each composer is always a thrill.

What is your favorite part of the rehearsal process?

There are so many moments in the rehearsal process that I love. That very first day, when we all meet and sing through the score as a team, is always exhilarating. Then come the conversations with the director and Maestro about our characters’ motivations and how to bring them to life physically and vocally. The first orchestra rehearsal is always a thrill, and the first dress rehearsal feels like stepping into another world. Watching a production grow from start to finish is incredible. I often tell people: come on opening night, but then come back again. You’ll see and hear new things the second time, and the experience will feel different because opera is alive—the singers continue to evolve too.

You recently moved to Denver! What are you most excited about now that you’re here?

I have such a special relationship with the Denver Metro area. I earned my Master’s in Vocal Performance at CU Boulder in 2004, then stayed to complete my Artist Diploma in 2006. Even as a student, I felt I would one day make Colorado my home—and now I have. I just relocated to Littleton with my son and bought my first house here, which feels like the perfect place to put down roots while continuing to travel and perform. I’m excited to settle in, go hiking, take a trip to Estes Park, and of course, stop by Laura’s Candies in Estes, which has always been a favorite of mine.

–

Witness Sara Gartland as our brave heroine Violetta this fall. Get tickets to Verdi’s La traviata now. >>