We speak with the interpreter of Salomé in the oratorio "Sanctus Petrus et Sancta Maria Magdalena" by Johann Adolph Hasse, at the Perelada Festival
What would you highlight about your role? What challenges does it present for you?
As a feminist, I’m very interested in the female disciples of Jesus because there are theologians who argue that they held prominent positions and that their testimonies and writings have been silenced, thereby diminishing the value of women in Christianity—such as their capacity to be priestesses. Mary Salome is one of them, and in the piece we find her just after witnessing the crucifixion of her teacher. Unlike Peter and Mary Magdalene, she is not a repentant sinner; she represents loyalty and constant support to Jesus. The message of her aria is direct and transparent, a philosophical reflection full of purity and empathy. Hasse wrote fitting music for it—not at all flamboyant—which leaves space for contemplation. Faced with simplicity, the challenge is to captivate the listener, offering an interpretation that stimulates their attention, one that doesn’t lower the emotional tension of the evening but at the same time doesn’t betray the humility or intention of the character. To achieve this, I work with a play of dynamics, articulation, and variations, all specifically aimed at intensifying the message rather than showcasing vocal virtuosity.
What can Vespres d’Arnadí and you contribute to the revival of this Hasse work?
I’d say that what Vespres d’Arnadí and my voice share is enthusiasm, a deep love for our musical vocation, and a sense of freedom on stage. These are elements that fuel the desire to delve into the score and bring a frankness to the interpretation that gives it personality. I’d say we never approach a work thinking, “What could we do differently?”—rather, we assume that it will naturally be unique. The orchestra’s wide palette of colors is ideal for a singer with my theatrical background; together we can serve the dramatic spirit of this oratorio well—one that, like many others, borders on staged performance. On a personal note, I also find it fascinating to continue exploring Hasse’s oratorios after having performed Sancta Elena al Calvario and the Te Deum.
What is the relevance of this recovered score?
J. A. Hasse wrote Sanctus Petrus et Sancta Maria Magdalena at a very high point in his career, when he was one of the most renowned composers in Europe. He was already Oberkapellmeister in Dresden and highly prolific in operatic composition. It was the Seven Years’ War that forced his exile to Venice, where he premiered this oratorio. So, we can expect great compositional maturity, spiritual fullness, and creativity. Despite the undeniable beauty of the score, there is only one commercial recording, and this will be the first time it’s performed in Spain. I hope our contribution will help it become more widely known and expand the offering of Classical Music titles during the Easter season..
What is your experience with our way of working?
My first opportunities to sing with Vespres d’Arnadí came through guest conductors, and I was eagerly awaiting the chance to work with such a central figure to the project as Dani Espasa. Beyond his renowned musical talent, he has a very healthy leadership spirit—one that brings people together but also respects artistic individuality, always open to dialogue. The working environment in the orchestra makes me feel very comfortable because it combines high standards with trust and a sense of closeness. That encourages freedom and risk-taking, which is essential for my performances. Dani and the other musicians are highly in sync with each other, very open to energies, nuances, and colors. I not only enjoy singing, but also experiencing the piece as a listener throughout the performance.
