A Conversation with Brenda Rae

Soprano Brenda Rae returns to Seattle Opera to make her role debut as Salome in October.

Brenda Rae has been described as “incandescent,” as well as “fearless, probing, and radiant of voice.” She returns to Seattle Opera this season to make her role debut in Salome. In this interview, Rae talks about this shocking opera and the daunting role she’s singing. She also discusses discovering opera in college, and her voice having a “sixth gear.” Her last appearance at Seattle Opera was in 2015, singing the title role in Semele.

SEATTLE OPERA: This production of Salome is your role debut. Why take on this character now?

BRENDA RAE: I don’t believe in predicting the future, but several colleagues suggested that I should look at it. When I did, I was like, “Oh. Oh, I think this could work.” I love singing Strauss. I've sung lots of his repertoire. I’m familiar with his melodic language, his harmonic language, and the way he uses the text and the drama. My voice is maturing. And while I might not be your typical version of a dramatic soprano, I believe it’s time for me to do Salome. When the opportunity at Seattle Opera came up, I said, “Oh my goodness. Yeah, let’s do it.”

Bass-baritone Tómas Tómasson, left, as John the Baptist in Salome.
Irish National Opera, photo

SEATTLE OPERA: Salome is one of opera’s most enigmatic characters. What are your thoughts about her?

BRENDA RAE: My opinions about Salome are not fully formed, and they’ll continue to grow as I learn the part. Even after I do this production, my opinions will probably change and morph. But I’m excited to take her on. Salome is a unique character—she objectifies a man and she’s objectified as a woman. Her stepfather is creepy and she’s creepy. Salome is feminine and masculine. Salome is on the edges of society and she doesn't really care. Plus, her wrath knows no bounds. “I want his head!” she declares. She’s a fascinating character that I’m eager to explore.

Brenda Rae (Semele) and Alek Shrader (Jupiter) in Seattle Opera's 2015 production of Semele.
Elise Bakketun, photo

SEATTLE OPERA: Semele and Lucia are two other roles that you’re recognized for singing. What is it about women who should not be toyed with that interest you?

BRENDA RAE: I consider myself a nice person. I’ve been told that I am. I’m from Wisconsin and now live in Minnesota. I’m very “Midwestern nice.” But as an actress, I like to think that I can play all sorts of characters. Some of my friends have told me, “People just don't think they can mess with you.” I love bringing that quality of myself to the stage.

SEATTLE OPERA: As an opera, what do you believe Salome offers audiences in 2026? 

BRENDA RAE: Strauss wrote Salome early in his career, and he really went out on a limb with the instrumentation. Listeners, even today, will hear lots of sounds that they’re not used to hearing in the orchestra. Musically, listeners can't help but be excited. It’s like opera's version of a rock concert. It just grabs you by the throat and doesn’t let go. On top of that, the subject matter is still kind of shocking to audiences. No matter the staging—tradition or stylized—this opera makes people see what’s happening in the world today. People might not like Salome as a person. And I don’t think it’s necessary for people to like her. But I do believe they will feel bad  for her because she still is, at the end, oppressed.

SEATTLE OPERA: Did you grow up in a musical household?

BRENDA RAE: My parents loved music but weren’t professionals. My mom loves playing the piano, but just as a hobby. They both enjoy classical music and took us to concerts all the time. Our town has a music conservatory where we attended student recitals. They took us to our first opera in Oshkosh, Wisconsin, when I was 11.

Even though in first grade, my music teacher sent home a note that said I had musical talent, my parents were against the idea of starting lessons before I wanted to take them. I was nine when I started singing in a choir and began piano lessons.

Brenda Rae in Opéra National de Paris's 2023 production of Lucia di Lammermoor.
Emilie Brouchon, photo

SEATTLE OPERA: What sparked your interest in opera, specifically?

BRENDA RAE: I wanted to be a singer-songwriter. At first, I studied all the genres of music—I sang a lot of jazz, some musical theater, and I wrote some of my own music in high school. My brother played guitar and wrote music. We sang in coffee shops and other places. In college, my first music teacher knew I wasn’t interested in opera, so I didn’t pursue it until I transferred to a larger school where I was surrounded by students studying all types of music. There, I tried opera for the first time. I’m so grateful that I did the sleepwalking scene from La Sonnambula. I was like, “If this is opera, then I'm going to focus on it.”

SEATTLE OPERA: You once said, “Everything is mental in our profession.” What did you mean by that?

BRENDA RAE: As singers we have our voices, but we also have to get through mental roadblocks. We’re like athletes. We train our bodies. We train our voices. However, in the end, if your brain can’t get behind it, your brain can mess with everything your body and voice are doing. So, singers have to take care mentally.

SEATTLE OPERA: Your voice has been described as “freaky.” Care to elaborate?

BRENDA RAE: A friend of mine told me once that my voice has a “sixth gear” because I have a lot of power in my upper register that not a lot of coloratura sopranos have. I believe that “extra gear” is going to help me cut through the orchestra in Salome.

SEATTLE OPERA: How do you adjust when singing different repertoire? Do you have to compartmentalize when you go from a role like Salome to a bel canto role? 

BRENDA RAE: Generally, my voice tends to go between repertoire quite well. I started my professional career as an ensemble singer—a “Fest” singer in Germany—where I sang four different things within short periods all the time. I got used to going between repertoires. 

Now that I’m older, I have the privilege to select roles and take more time between them. Right now, I have a lot of new pieces. Upcoming are Daughter of the Regiment and Salome. When I think about it, that’s kind of funny because they are completely opposite.

SEATTLE OPERA: Is it true that you’re a fan of Dungeons & Dragons?

BRENDA RAE: I am a fan, but I’m not part of any campaigns right now. When I’m traveling, I play games on the iPad with my kids. It's a good way to stay connected with them even 4,000 miles apart. We play World of Warcraft, and I would like to start them on Dungeons & Dragons when they’re older.

Salome is on stage October 17–31, 2026 at McCaw Hall. Learn more and buy tickets at seattleopera.org/salome.