Interview: 'I Relate To Her Quiet Wisdom': Soprano Mei Gui Zhang On Making Her Glyndebourne Debut as Susanna in Mozart's THE MARRIAGE OF FIGARO

Now in its fourth year, the Glyndebourne Autumn Season is almost upon us. A place for discovering emerging talent and new work, it offers new audiences a more informal and affordable way to experience opera at Glyndebourne.

The season will open with Mariame Clément’s luscious production of The Marriage of Figaro. BroadwayWorld spoke to New York-based Chinese soprano Mei Gui Zhang, who makes her Glyndebourne debut in the role of Susanna. We spoke about taking on her first role for the company, her love of Mozart and how Susanna is the true heart of the opera.

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Congratulations on making your Glyndebourne debut. You won the Audience Prize at the 2020 Glyndebourne Opera Cup, but how does it feel to be debuting at such a prestigious venue?

Thank you so much! This is my first official engagement here. Singing at this wonderful, prestigious venue has always been my dream, and it feels absolutely overwhelmingly special after such a long wait.

You have a lot of experience with Mozart’s operas — what draws you to his work and specifically The Marriage of Figaro?

Mozart is fundamental for young singers with my voice type, both musically and technically. I’ve been fortunate to sing many of his roles: Pamina, Ilia, Zerlina, Despina, in both German and Italian. With Figaro, I’ve never encountered such extensive recitative in any other opera — and I absolutely love that. The opera also has so many gorgeous ensemble numbers.

I first worked on Figaro singing Barbarina at the Met, so it feels like such a natural progression to now step into the role of Susanna.

What do you enjoy and what do you find challenging in the character of Susanna?

As I mentioned, I really love all the recitative. But most of all, I love inhabiting this character. She is bright, charming and full of energy. I’m quite a calm, quiet person offstage, and I adore this wonderful contrast -it gives me the freedom to become someone completely different once I step onto the stage.

It’s a huge role, as Susanna barely leaves the stage in the first two acts. How are you preparing for the physical and mental task ahead?

That’s very true. I’m making sure I stay focused and prioritise plenty of rest. Vocal and mental stamina are everything for Susanna.

How have rehearsals been going?

Rehearsals are going extremely well. We finally move onto the main stage next week, which I’m so excited about.

The opera was groundbreaking when it debuted, in portraying equality between the sexes. What do you think it can say to today’s audiences?

Figaro’s core message still resonates powerfully today. It champions dignity for every person, no matter their social standing or gender. Susanna and the Countess show two very different women, both fighting for respect and agency over their own lives. It reminds us that fairness and mutual respect in relationships are timeless values, just as relevant now as they were back then.

How is it working with Mariame Clément as a female director?

She hasn’t joined us in person yet, but but from her vision shared through James [Hurley, Revival Director] and Amos [Anna-Marie Sullivan, Movement Director], I can tell she cares deeply about singers delivering the text with clear, physical and emotional truth. Her work is incredibly detailed.

Susanna is incredibly clever and emotionally savvy. Can you relate to her?

I relate to her quiet wisdom. She sees everything happening around her, but chooses kindness rather than anger to navigate difficult situations. While I am more reserved in daily life, I understand her loyalty — she would do anything to protect the people she loves. That part of her feels very close to me.

What is your favourite part of the opera?

Without doubt, the final garden scene. It holds so many layers: playfulness, tenderness, secret plans, and genuine love between Susanna and Figaro. And of course, “Deh, vieni” — it is such an intimate, breathtaking moment for Susanna, where all her cleverness softens into vulnerability.

The chemistry between Susanna and Figaro is crucial to the opera. How are you finding working with Jasurbek Khaydarov, who is singing Figaro?

Working with Jasurbek is a joy. We have built a very natural, easy chemistry. We both want to show that Susanna and Figaro’s bond is rooted in true friendship as well as romantic love. It feels very authentic.

It’s also important to show the real bond between Susanna and her mistress Countess Almaviva. How has it been working on the beautiful duet “Canzonetta sull’aria” with Madeline Boreham, who plays the Countess?

This duet is one of the most precious moments in the whole opera. It is not just two women plotting a trick; it is a moment of deep understanding and solidarity. Working with Madeline is wonderful. Our voices blend beautifully, and together we try to capture that quiet, tender friendship between Susanna and the Countess.

Susanna’s final act aria “Deh, vieni” is a balancing act between conveying romantic longing and playful awareness of the trick she is playing. How do you convey that ambiguity?

I think Susanna is fully in the game, but her feelings for Figaro are completely real. I keep one foot in the playful pretence of their plan, while letting the longing in her voice be honest. She is acting a little, but the love she sings about is no performance at all. That balance is the magic of this aria.

What do you hope audiences take away with them after seeing the production?

I hope the audience leaves remembering Susanna not only as a quick-witted maid, but as the heart of this opera. It is a story about love, forgiveness and people standing together. I hope they carry home that warm feeling of hope, and fall in love with Mozart’s wonderful music all over again.

The Marriage of Figaro is at Glyndebourne as part of the Autumn Season from 14 October - 8 November