Soprano Brenda Rae made a last-minute switch to become the lead singer in Mozart’s Mitridate for Opera Philadelphia’s opening night, stepping in for Lauren Snouffer. The change came when Rae, traveling with her family from Minneapolis to visit her father in Wisconsin, received a call offering her the role. She accepted and joined tenor Lawrence Brownlee and countertenor Anthony Roth Costanzo on stage Wednesday night. The opera, composed by Wolfgang Amadeus Mozart at age 14 in 1770, tells the story of Mitridate, a ruthless ruler who spreads false news of his death to test his sons’ devotion to his fiancée, Aspasia. Rae, who had been preparing for a break between performances, was unexpectedly called upon to take on the role. She had previously performed as Aspasia alongside Brownlee at Boston Lyric Opera in September 2024 and was set to debut in Richard Strauss’ Salome in Seattle later this year. Rehearsals for Mitridate had begun on August 13, and Snouffer’s departure was decided last Thursday. Anthony Roth Costanzo, who is entering his third season as general director of Opera Philadelphia, said the decision was made collaboratively, ensuring the best outcome for everyone involved. Michael Eberhard, the company’s casting director, called Rae to check her availability, and she brought her score along to Wisconsin just in case. When a second call came that evening, she had to balance her time with her father, her first visit home since her mother’s passing in spring. Opera Philadelphia did not have backup singers on hand, and there was no time to secure a U.S. visa for a European soprano. If Rae had declined, the company considered alternatives, including using a young singer or cutting Aspasia’s music. However, with Rae’s help, the opera proceeded as planned. She arrived in time for the orchestra rehearsal and had fittings for her costume and wig. The character’s outfit, an off-white Oscar de la Renta pantsuit, was purchased online by the set and costume designer. Rae noted that this sudden switch was different from previous experiences, like when she took over the title role in Lucia di Lammermoor in 2012. “This has been especially stressful,” she said, “because of all the recitative and the language in a Mozart opera.” Despite the challenges, she prepared rigorously, working with the conductor and director over the weekend. On opening night, she admitted to being unprepared for the logistical challenges, including limited personal items and last-minute hotel arrangements. “I just had a little suitcase,” she said. “I’m doing laundry now.”