Chords for Christine Goerke on Die Walküre

You are incredible.
So you've gotten through the Hoya Tojos.
Yes.
Right?
_ And the rest of Act II, how are you feeling?
Feeling like I'm ready for Act III.
[B] _
Well good, because that's what's coming up.
That's exactly right.
We talk a lot about how difficult this role is, but she's also wonderful to [F#] perform.
What do you love the most about Brenda?
_ [G#] So many things to love about her.
The music [D#] is something [F#] unbelievably remarkable.
We all love the music.
We all [G] love the [B] warmth that she gets [F#] in her character, [Bm] especially in this act.
We see the [A#] compassion that comes into her psyche, and it really comes out in the [F#] music.
But [G#m] I just, especially over the course of three of them, I love that [A#] she's such a teen in this one.
And she's [G#] so cantankerous and so _ just bossy and [Fm] sassy.
And boy, does she [D#] figure out that wasn't the right course of action at [A#] the end, doesn't she?
Right.
It's [D#] quite an arc.
_ How do you [C] find singing and performing on this _ machine?
You're a remarkable set.
You know all about this, of course, but coming in, having watched [N] all of the DVDs that you had put out,
I was astonished at how gracefully and miraculously you scaled this thing and dealt with it.
And I was quite intimidated coming in, but I have to say, it is nowhere near as scary as it looks.
[Em] And [B]
she's like_
_ _ Okay, fair.
It's [E] slightly scary, but it's [F#] just so cool that it's all worth it.
_ [C#] And how do you find the [B] acoustics? _
Surprisingly great, [Gm] actually.
You know, the funny thing is [Bm] that a lot of the time the machine [Em] ends up in a configuration [B] that it's almost like a band shell.
So it just bounces everything right out into the house.
So [N] you can really listen on this set.
Did you find?
I did, yeah, absolutely.
Especially when you get to the third act.
Absolutely right.
As you'll all find out, when you're laying on the floor, that sound just goes_ Right out.
Right out.
Earlier in your career, you sang a lot of Mozart and Handel.
Did you ever imagine that you would end up singing the biggest soprano roles of all?
No, not at that time, you know.
A lot of people did, but I really had no idea.
And the first opportunity I had to spend any time with any Wagner here, especially,
was singing Third Nourn in Götterdammerung.
And I just suddenly felt like home.
And that was an amazing feeling.
I mean, you know, the first time that you sing with an orchestra that has a hundred pieces,
and you feel like, I can actually do this.
[C#] It feels nice not to have to hold back just to use your [F#] instrument.
Right.
Well, since this is a marathon of singing roles, [Cm] what is your [C#] routine on [D#] game day? _
_ I can't even say that there is a routine on game day.
I try to get a good [C#] meal in.
I try to get here very early.
The meal_
My kids will laugh at me when they hear this.
I always have [B] the same thing.
I have a crisp bread [G#] with some butter and a hard-boiled egg on it.
Isn't that exciting?
That's it?
_ And coffee.
A lot, a lot of coffee.
So much coffee.
Oh my gosh. _
You better go eat something, girlfriend.
Oh, I'm going to.
I have reservations.
Don't worry.
Okay.
Christine, congratulations.
Thank you so much.
Toy, toy, toy for the rest.
Thanks [C#] so much.
I have to do a shout-out to my daughters who are sitting through five hours of this.
Maggie, Charlie, [B] watching in Paramus, New Jersey, I love you.
And please watch what happens when you don't listen to your father in Act 3.
Ooh, ooh, ooh.
Thank you.
Warning, _ warning, you test me.
Take care.
Bye.