“Pleasure” is a concept humanity has pursued, defined, and debated for millenniaāfrom Early Greek philosophers musings to Freudās theories, from ancient Chinese philosophy to Egyptian mysticism.
In her deeply personal and compelling one-woman show, Pursuing Pleasure, opera singer Piera Dennerstein steps into this lineage of inquiry, offering her own story as both case study and celebration. Through an eclectic mix of musical selectionsāfrom Puccini to Cardi BāDennerstein examines the rigid structures of her profession, the silencing of her voice, and the hard-won rediscovery of her personal joy.
The moment the audience enters the small, intimate theatre, theyāre immersed in a world that feels equal parts boudoir and dreamscape. Soft pink lighting bathes the space; feathered chairs and velvet accents suggest sensuality and softness. A lone piano waits like a co-conspirator in the corner. The atmosphere is one of warmth and openness, setting the tone for the confessional yet theatrical journey ahead.
Dennerstein makes her entrance like a vision: glamorous, confident, and possessed of a voice that commands immediate attention. She opens with an aria from Carmen, a dramatic choice that immediately showcases her operatic prowess and establishes her as a powerful stage presence. Her voiceāa heavy sopranoāfills the room with depth and resonance, but itās her storytelling that truly pulls us in.
As she begins to speak, Dennerstein draws back the velvet curtain on the world of opera, revealing a system that to outsiders can feel like an elegant but arcane secret society. With sharp wit and heartbreaking clarity, she explains how singers are typecast according to vocal āfachāāa system of classification that determines what roles a singer can audition for. Itās a rigid framework that values tradition above individuality, and Dennerstein invites us to see how such a system is also a gatekeeper of artistic expression. In this world, a single note sung incorrectly can mean losing a role; personal taste, emotional connection, or daring interpretation are often secondary to the mechanics of tone and volume.
Dennerstein’s own experience as a dramatic sopranoādestined to sing the tragic, the regal, the doomedābecomes a metaphor for confinement. When she delivers a searing excerpt from Wagner, itās clear she inhabits these roles with mastery. But when she speaks of her desire to sing something joyful, light, or flirtatiousāand how the opera world deems these pleasures off-limits for her voiceāwe see the emotional cost of that confinement.
In the showās second half, she shifts from analysis to revelation, sharing stories of rejection, emotional abuse, and the slow, courageous return to herself. Through pop music, humor, and fierce vulnerability, Dennerstein stages a rebellion against the rules she was trained to follow.
Pleasure is more than a performanceāit’s a quiet revolution. In just an hour, we witness an artist stepping out of the roles the world assigned her and into the one sheās written for herself. By the end, Piera Dennerstein doesnāt just singāshe reclaims her voice. And that, in every sense, is a pleasure.
To book tickets to Pursuing Pleasure, please visit https://www.oldfitztheatre.com.au/pursuing-pleasure.
Photographer: Olivia Charalambous
