"I think for me it's especially healthy if I can always go back and be singing early music between twentieth-century or between operettas," she says. More and more, it's both the old and the new - parts such as the mad Jenny in Richard Rodney Bennett's The Mines of Sulphur (recently released on a Chandos recording), Curley's Wife in Carlisle Floyd's Of Mice and Men, Amy in Mark Adamo's Little Women and the title heroines Semele, Arianna and Agrippina. "I try not to say no to anything, because I think it's just my responsibility to figure out how to be able to do it." This attitude extends to the parts she chooses to sing as well, making her repertoire difficult to summarize. But if a director asks, she'll give it a shot. "It certainly would have been a lot easier to stand there and sing it," Worra says, laughing.
To the strains of "Endless Pleasure, Endless Love," the couple got to know each other in the Biblical sense, Worra's silvery rendition of the da capo ornamentation coming across as an expression of her ever-increasing sensual enjoyment. Taking the lead role in Long Beach Opera's June production of Handel's Semele, set by director Isabel Milenski in a modern-day Texas of seedy motels and big-money barbecues, the brave soprano set her eyes on Jupiter (Benjamin Brecher in a ten-gallon hat), then sneaked off with him to his parked convertible.
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