Welcome Back Sasha Cooke

© Stephanie Girard

In our recent conversation with mezzo-soprano Sasha Cooke, we discuss what she’s been up to since her last appearance in Seattle back in 2016, recounting several memorable performances. We talk about what it means to debut Carmen, particularly at this point in her career. What’s more, Sasha gives us a behind-the-scenes glimpse of how she’s preparing for the show.

Seattle Opera: How do you feel about returning to Seattle Opera after being away for nearly a decade? 

Sasha Cooke: I'm so excited, returning really means a lot. Seattle Opera provided a chance to debut a significant role once before and now, I’m coming back to sing an equally important part. When an opera company puts their faith in you, particularly when you're doing a role for the first time, the opportunity means so much more.

Plus, I love the Seattle Opera community. I was a young artist for a brief time in the 2000s. One personal memory comes to mind when I think about Seattle Opera. I had just given birth to my second daughter, and I needed a place to nurse during breaks. It just so happened that another singer had also recently given birth to a baby girl. The company created a little room where we could nurse the babies and then get back to rehearsal. That was special.

Seattle Opera: Well, you'll be glad to know that now the Opera Center, our newish administration building, has a nursing room. 

Sasha: I’m not surprised. That is Seattle and fitting for Seattle Opera. I just love that. I love what the company represents, especially the ways it embraces the community and the idea of opera as a service to the community.

Seattle Opera: Since you were last here, you’ve performed at major opera houses and concert halls across the globe. You’ve premiered major new works, collaborating with some of the best composers, conductors, orchestras, and musicians in the world. This is a hard choice, but what are some of the most rewarding milestones of your career?


Sasha Cooke and Kevin Burdette in Dallas Opera's world premiere of The Diving Bell and the Butterfly.
© Kyle Flubacker

Sasha: I love that question. I'm a firm believer that my current project is the most important thing I’m doing at that time. And I’m always grateful for each opportunity. 


My favorite premieres in the last ten years took place at Dallas Opera—Everest, and The Diving Bell and the Butterfly. Both are by Joby Talbot (composer) and Gene Scheer (librettist). They were perfect moments, when everything comes together—you’ve got great creative teams, great music, great singers, and important stories that need to be heard. 


Another moment that comes to mind is a Carnegie Hall performance with Michael Tilson Thomas conducting the San Francisco Symphony. I sang Mahler’s song cycle, Das Lied von der Erde (Songs of the Earth).

A more recent moment happened just last year, the world premiere of  American Lament with composer Jasmine Barnes. Part of our motivation was the 250th anniversary of the country. Jasmine and I were talking about poetry and text, and we kept coming back to a piece by Langston Hughes that begins, “Let America be America again.” We did American Lament in five cities, and this summer we're performing an orchestral version at the Music Academy of the West.

Seattle Opera: Well, that brings us to today. Why Carmen and why Carmen now? 

Sasha: Gosh, well, you know, it's an interesting time to portray the kind of femininity in Carmen. When you study the score—really look at Carmen—you discover that she is a force who is destroyed by male domination, but she has peace with her fate. Fearless, you know? I've seen singers play the part in an Italianate way—crazy and all over the place—but, actually, Carmen is solid as a rock. 

Seattle Opera: You've sung arias from Carmen over the years, so tell us how your relationship with the music has shifted over time and what it means to step into the full role now? 

Sasha: I've been thinking about that very thing and how grateful I am to have lived experiences now. Coming to Carmen at this point in my life, I’m confident. Of course, I learned all the arias, performing them at various auditions, recitals, and concerts. I learned many of the pieces back when I was an undergraduate, and, maybe in high school, but I’m not sure about that. 

As a classical singer, especially for mezzo-sopranos, Carmen is one of your first loves.

Legendary mezzo-soprano Denyce Graves was Erda in Seattle Opera's 2023 production of Das Rheingold.
© Philip Newton

One of my earliest memories of Carmen was a Denyce Graves performance. I heard her in Houston and somehow, she came from backstage on a golf cart with her perfectly cute white dog. I thought to myself, “Whoa, is this what opera singers do—get wheeled around to meet the audience?” About ten years later, I sang the role of Mercédès with Denyce at Wolf Trap. I was a student at the time, and it was an incredible experience to witness her up close. 

I performed Carmen in concert with my husband, who sang Escamillo, with our hometown orchestra. We were pregnant with our first daughter at the time. That was a special experience for us. Now, the opportunity to do a full production, I just can’t wait.

Seattle Opera: It's interesting. J’Nai Bridges, who is also singing the role with you, has told us that her perspective has changed as she's gained life experience. 

Sasha: I would love to talk to J’Nai sometime about that and hear how she has shifted from performance to performance. 

Seattle Opera: How have you been preparing for this debut? 

Sasha: Well, with any debut, you want to “get it in the oven as early as you can,” so to speak. That way the role can cook slowly. I started working on it a year in advance. Now, I can just enjoy the character and not worry so much about the vocal piece. 

One thing that intimidates me about Carmen is that she doesn't leave the stage in the first half of the show. She sings aria, aria, aria, aria. I’ve really worked on my stamina.

Currently, I'm getting into the nitty-gritty of acting because impostor syndrome can be a downfall. If I start thinking about “J’Nai did it better or Denyce did it better, or fill in the blank did it better,” then I’m going backwards. The remedy for imposter syndrome is preparation, putting the time in. Luckily, my sister teaches drama and wrote an acting technique book. She’s my acting partner as I prepare for a show. We read scripts together and talk about intentions and actions. That's a big part of my process.

And I took a few castanet lessons. And I studied flamenco-style and comportment and dance.

Seattle Opera: How many times have you worked with Paul Curran, the director, in the past?

Sasha: This will be the first time. I've seen many of his shows—at Rice University and in New York. Also, my husband worked with him at Santa Fe Opera. I've admired his work for some time. He loves singers, and in the small community of singers, he has a great reputation. Paul is one of the best. He comes from the theater world, and he was a dancer. He brings a natural physicality to what he does.

Carmen is one of the greatest roles ever written, musically and dramatically. So, as a woman in her forties, I’m happy for the opportunity. It’s one of the best moments of my life. I'm just super excited about the entire production.

 

Carmen is on stage May 2–17, 2026 at McCaw Hall. Learn more and buy tickets at seattleopera.org/carmen.