Ahead of her title-role debut in Opera Australia’s The Merry Widow, soprano Emma Pearson tells Jansson J. Antmann why operetta deserves pride of place alongside opera, its virtuosity coupled with a healthy, much-needed dose of laughter.

Emma Pearson as Armida in Pinchgut Opera’s 2023 production of Handel’s Rinaldo. Photo © Cassandra Hannagan

For much of the 20th century, operetta was the sparkling, effervescent sibling of grand opera – a charming diversion, ubiquitous in the repertoire and beloved by audiences. In recent decades, however, as major houses have turned increasingly toward blockbuster musicals, it has become fashionable to assume that operetta is somehow lighter, easier or less technically demanding than opera.

Soprano Emma Pearson knows otherwise.

Nominated as Singer of the Year in 2009...