One of those meetings you dream about, you don’t know if they will happen, but you hope for them every time you listen to a recording or watch a show with that artist. For me, more and more of such meetings take place and they charge me with positive energy and motivate me to aspire more in order to follow their example. I think there is no need for presentations, but I must specify that I adore her!Bianca L. Nica
Born in Romania, in Iași, Elena Moșuc studied at the George Enescu University of Music in her hometown. She has won several international competitions, the most important being ARD Wettbewerb, the German television competition in 1990, which opened the way for an international career, and she was awarded many prestigious awards and prizes. In 2005, the President of Romania granted her the title of Officer of Arts, a high recognition for her exceptional merits. In 2009 she obtained a Ph.D. summa cum laude from the Music University of Bucharest and was named Woman of the Year in 2009. In 2010 she became honorary citizen of her hometown of Iași, in 2015 she was awarded the Romanian Oscar, the Grand Prize of the National Opera Houses of Romania, thus crowning her exceptional international career, and in 2017 and 2018 she was nominated for the renowned and international Oscar Della Lirica Awards.
Elena Moșuc was very attached to the Zurich Opera, where she demonstrated her talent and dedication for the stage in various roles, most of them performed all over the world, such as The Queen of the Night (performed 250 times), Konstanze, Donna Anna, Zerbinetta, Lucia , Linda di Chamounix, Elvira, Guild, Violetta, Mimi, Musetta, Micaela, Maria Stuarda, Norma and many others. She has been invited to perform throughout Europe, on the most famous international scenes (at La Scala in Milan, Vienna, Covent Garden Opera in London, Bastille Theater, Opéra Comique, Palais Garnier and Champs-Elysées in Paris, Rome, Turin, Venice, Palermo, Munich, Berlin, Hamburg, Bucharest, Barcelona, Bilbao, Tel Aviv and so on) and in renowned festivals (Salzburg, Arena in Verona, Savonlinna in Finland, Torre del Lago – Italy), as well as in the USA (at Metropolitan Opera New York and Dallas) in Japan, China, Taiwan and Korea.
She has worked with great conductors such as Sir Colin Davis, Nikolaus Harnoncourt, Christoph von Dohnanyi, Fabio Luisi, Nello Santi, Lorin Maazel, Gustavo Dudamel, Philipp Jordan, Valéry Gergiev among others and with famous directors (Franco Zeffirelli, Liliana Cavani, Ruth Berghaus, Sven-Eric Bechtolf, Stefan Herheim, Mario Martone, Graham Vick, Martin Kusej and others). She is recognized as one of the most versatile and expressive sopranos of the modern era.
Recent triumphs include some debuts considered exceptional, which have enriched her repertoire, such as Norma (Zurich, Lyon, Paris, Savonlinna Festival), Marguerite (Faust) in Zurich, Hamburg and Budapest, Liù (Turandot) in Zurich and in The Puccinian Festival at Torre del Lago, Mimi (Zurich, Bucharest), Medora (Il Corsaro) in Zurich and Duisburg, Nedda (Pagliacci), Alice Ford (Falstaff), Luisa Miller (Zurich, Naples, Milan Scale), Lucrezia Borgia, Maria Stuarda (Zürich and Berlin), Anna Bolena (Vienna), Semiramide (Lyon, Paris) and Magda (La Rondine) in Munich. A special mention is deserved for her debut at La Scala in Milan with the role of Violetta Valéry in La Traviata under the baton of the great master Lorin Maazel, followed by Gilda (Rigoletto), also at La Scala, the new production by Luisa Miller in which Elena had a tremendous success, as well as Micaela in Carmen and Lucia di Lammermoor. We must add the latest successes with Zerbinetta (Ariadne auf Naxos) in Zurich, the Salzburg and Bastille Festival in Paris, Lucia di Lammermoor in Barcelona, Palermo, Turin, Las Palma and Menorca, Lucrezia Borgia in Brussels and ABAO Bilbao, La Traviata in Malta and Athens. In 2017, the highlights of her appearances on international lyrical scenes were Maria Stuarda in Genoa, a performance considered one of the best in Europe, and the sensational success with the difficult role Anna Bolena in Lisbon and Desdemona in Tokyo.
In addition to opera and concert performances, Elena Moșuc likes to experiment with other genres such as Fado and Musical and is passionate about film music, creating a superb CD, L’amore è poesia at Abbey Road Studios with the London Symphony Orchestra, released in September 2016 at the Solo Musica/Sony record store, in which the film and the opera embrace. A particular mention is also deserved for her interpretation in the film Mozart’s Genius, made by the BBC, and the artist’s participation twice at the FIFA Gala, broadcast live worldwide, in over 120 countries. In April 2018 her new CD, Verdi Heroines will be released at the Solo Musica/Sony record label.
I am very glad that I have the opportunity to meet you personally and thank you for the kindness with which you accepted this interview! We are happy every time such an artist returns to their homeland, even if for only one show, and your absence from the Cluj scene has been quite long. How do you feel when you return to Romania? How long has it been since you last visited Cluj and how did you receive the invitation?
I like to go back to Romania, but it does not happen very often and I do not think that I could stay here in the first place, because the repertoire I approach is not sung. In addition, I got used to traveling a lot. I sang once in Cluj a performance of Lucia di Lammermoor, and now I have returned after 23 years of absence for my second performance of Il Trovatore by Giuseppe Verdi, title which I debuted on March 28th, on the stage of the Belgrade Opera, under the baton of master Dejan Savić. As for the way I received the invitation… in fact, I invited myself (laughs). Wanting to make my debut in the role of Leonora, I suggested this to the Opera Houses in Belgrade and in Cluj, and so I made my role debut in Belgrade and I will perform the second show here, in Cluj.
This evening, therefore, the second performance of Il Trovatore of Elena Moșuc will take place, on the stage of the Opera House in Cluj. What can you tell us about the team you will be on stage with and the collaboration with the maestro Adrian Morar?
I am very pleased with the team I found in Cluj. The overall level of this theater has always been high. It is the second collaboration with the conductor Adrian Morar, the first one taking place on my anniversary 4 years ago, from Bucharest, with La Traviata. We understood each other well then, and now, being a new role, we must give each other a little more attention.
Calin Brătescu will be debuting in the role of Manrico. I played with him La Traviata a few years ago. At my debut in Belgrade, I had alongside Baritone Florin Estefan, as Count of the Moon. That was our first collaboration, and the second one will take place on Sunday, on the Cluj scene. An exceptional duet came out! I play for the first time with Andrada Rosu, after playing with her father Grand Mass in Do minor in Bucharest, in 1991. I heard that he had died and I am very sorry. I know he was a very good singing teacher.
Your repertoire is a very large one, which has as its center the Italian bel canto, but here, we have a surprise! Why Leonora?
Because the time, age and experience needed for Leonora has come. It is a role that I have wanted for a long time and it represents a step forward in my artistic development. After a long time having sung from the Verdian repertoire roles such as Gilda, Violetta, Luisa Miller, Medora, Alice Ford, I now dare to move to a new territory. Leonora is a role with more vocal drama. Many people may not expect me to play this role, but I consider it a very welcome step, as a complement to my repertoire. Today’s fashion is for Leonora to be sung in a dramatic voice, but that’s not what Verdi wanted for this role. At that time, Leonora was played by sopranos who sang Rosina, Adina, Gilda, Violetta … Except for some slightly tougher passages, there is nothing that motivates this approach about this role, and I, interpreting it in the debut show from Belgrade, I felt great.
You grew up with music, church music, because of your grandparents, as you mentioned in a previous interview, but when did the meeting with opera music take place and when did you know that this is the way you will go?
As a student at the pedagogical high school, as a future teacher, music was an important pillar in my preparation and I had a very severe music teacher, Mrs. Florica Bart, because of whom I learned the true solfeggio. Even after finishing high school, I continued to study solfeggios alone at the level students studied at the conservatory. I was also part of the high school choir, and one of my colleagues was its soloist, because she was studying at the popular art school. Conscious of my vocal qualities and very keen to be a soloist, at the age of 16, I began to attend the courses of the popular school of arts in Iasi, where my first singing teacher was Mrs. Mioara Cortez. She was the first person to say about me: „This girl is going to get big!” (laughs). I was crazy about the way she sang and I liked her voice so warm, strong and expressive that I cried when I heard her at concerts or on the radio. It motivated me to study. I was a teacher for one year, and during the next four, I studied with Silvia Tomovici. I used to go to the Opera and Philharmonic shows, I started to know the soloists, the instrumentalists and they let me go in through the back door because we had no ticket money.
At that age, I was dreaming, but it’s very important to dream. Everything I dreamed of then was fulfilled. When I became a teacher, which was my grandparents’ dream, I told my colleagues: „I dream to sing at La Scala, at the Metropolitan, in Paris, in Vienna … with Araiza, with Hampson, with Nucci”, and they were laughing at that time, but then they admired me. If you visualize and believe in your dream, it is fulfilled. During that time, I worked with the children in the morning, and in the afternoon I dedicated myself to studying. I also sang in the choir of 2-3 churches, learning a lot of music from each of their conductors. Sunday I was very busy (laughs). I repeat this custom when I come to Romania, but also in our parish from Zurich, where I even sang during Resurrection.
The moment that propelled you on the most important scenes of the world, in the limelight, was winning the Munich Competition. How did you get to participate and with what thoughts did you leave for that competition?
At the Internationaler Musikwettbewerb der ARD München I happened to come by chance, at the advice of a flutist from the Opera orchestra. In the spring of 1990 he asked me why I did not go to an international competition, because until then I had only participated in the „Song of Romania” and the „George Enescu” Competition in Botosani, which had as president of the jury David Ohenesian, where I was awarded second place, the first prize not being awarded. Thus I found out about the competition in Munich. At that time I did not meet all the registration requirements; of the four required roles, I only knew two, the Queen of the Night and the Traviata, and the other two, Mimi and Donna Anna, I learned until the contest. Out of the 115 competitors, I was the only one without specialized higher education. I had only participated to have the experience of such a contest, without any hope of taking any prize. In the first stage I sang three areas: the Queen of the Night area from the magic Flute by Mozart, the large area from La Traviata by Verdi and the area of Magda from the opera La Rondine by Puccini. I sang in a very relaxed way because I knew that no one knew me there and, anyway, I wasn’t there to win, but to accumulate the experience of an international competition. After the final stage, the jury called all the finalists in a room. The prizes were awarded up to the last one. Ruxandra Donose received the 2nd prize. When I was announced as the winner of the 1st prize, I thought I didn’t hear well. The surprise was to find out later that, after the conclusion of the competition, members of the jury declared in interviews published in the press that: „It was obvious who would take the first prize from the first stage”. It was a very difficult competition, the final of which took place at the Herkulessaal der Residenz in Munich and which opened many doors to me.
Did young Elena Moșuc have models who you used to listen to?
When I was a teacher, I bought a pick-up and every time I got my salary, I bought a new record. We had records with Romanian soloists, such as Lucia Stănescu, Eugenia Moldoveanu, Spiess, performing arias. Comprehensive works could not be found. I only had Turandot, Cavalleria … I “stole” something from everyone from whom I thought I had what to learn. I learned a lot on my own, studying my roles in which I debuted, listening to a lot of music. And that’s because I never wanted to be dependent on a teacher. Also, preparing for the competition in Munich, Internationaler Musikwettbewerb der ARD Munich, for which I had to learn six areas from different stylistic periods and four integral roles, I went to the library of the George Enescu Conservatory and wrote the melodic lines and the text by hand. . I have whole notebooks of music in which I wrote roles and arias and that’s how I learned them. I didn’t have scores.
You started with the Queen of the Night, you played all the important heroines of Bellini and Donizetti, but also some green heroines, and now you have surprised us with Leonora. Let’s detail a little your evolution, from a repertoire point of view, throughout your career. Where does your voice feel best and what will keep you surprised?
I started with Mozart, which is said to be a repertoire that singers must address at the beginning of their career, although it is very difficult. I think Mozart’s work requires a perfect technique. I debuted with Queen of the Night after 10 years of vocal study, the first performance taking place in Iași, and the second one in Munich, and I got to play this role about 250 times. I haven’t been playing Queen of the Night for a few years now, but not because I couldn’t anymore, but because it’s no longer compatible with my current repertoire. This is not against the Fa. I continue against Fa and I sing it at the end of the first act of I Puritani and at the end of the duet Lucia-Edgardo, very well motivated both from a musical point of view and from a dramatic point of view. My husband tells me that I am only now at the age to make this role more believable (laughs), although I have never been a pure coloratura soprano. I have always had drama and roundness in my voice.
I also gave up Gilda (Rigoletto), because there are so many young girls who are better suited for this role, and Zerbinetta (Ariadne auf Naxos).
In March 1991, I gave an audition at the Vienna Opera, then conducted by Ioan Holender, a decisive audition for my artistic career, because the director Grischa Asagaroff was present at that audition, who was about to start his activity as an artistic director of the Zurich Opera, in September of the same year, together with Alexander Pereira. I knew they needed a coloratura soprano and, 15 minutes after the Vienna State Audition, I took a taxi and auditioned for Pereira at Konzerthaus. Right on the spot he offered me a three-year contract as a member of the Zurich Opera Ensemble, where I sang for 22 years. There I met my husband, who is a lawyer, but who sang for pleasure, being a collaborator in the Zurich Opera Choir.
Pereira has „brought me up”, giving me increasingly complex roles. Every year I have debuted, most of the time, in main roles. I also had two debuts in a month: in February 2003, Luisa Miller and I Puritani. My last debut in the Pereira “era” from Zurich was in Norma (2011), and then, I debuted in Nedda and Alice Ford. So, I started with the Queen of the Night, Gilda, Lucia and slowly came to Norma. I had this luck to alternate with Gruberova, from whom I learned a lot by listening to her.
I feel best in bel canto, although it is the most difficult repertoire. I rest while playing Puccini (laughs). Bel canto and Verdi, this is my repertoire at this time.
I am at the age where I can approach roles that contain more drama, and the experience allows me to enrich my repertoire, without giving up the roles I have already gone through. Next year I will return to I Puritani, for example, because I want to keep up technically. And all the more dramatic roles that I have dealt with throughout my career have helped me to form the center of my voice, to reach the repertoire I want to tackle from now on. And maybe, in a few years, I will approach Elisabetta (Don Carlo), Simone Boccanegra, Ernani, Adriana Lecouvreur, but I do not want to force my voice. I will continue to sing on technique. Also, I would like to have the opportunity to perform and stage La Rondine (Puccini), which I recorded, because it is a light but beautiful role.
Next year will bring a surprise that I can’t talk about yet, unfortunately. It is a role, quite dramatic, which no one expects, but which was sung by sopranos with the same repertoire as mine. Nor can I say where I’m going to debut in this role, but it’s somewhere close.
You have a brilliant career, full of both important and, I am sure, also unforgettable events. What would be the most significant of these for you?
One moment I will never forget is the first day I played with the orchestra. I was a teacher, but the people from the Philharmonic knew me and invited me to tour in Bacau. I was very excited at the first rehearsal, but I was at the same time in seventh heaven.
Another special moment is my debut at Teatro alla Scala, in 2007, where I played the role of Violetta, under the baton of the great Lorin Maazel. I have had many unforgettable performances, but in this first act, I did not realize what was happening, where I was. I was floating, it was like a dream. Only in act two did I realize that I was on the stage of the Teatro alla Scala.
In 2000, I went with my teacher to a show at the Arena in Verona. When I entered the Arena and saw how big it was, I said, „Master, I never want to sing here!” (laughs), and a year later, in 2001, I debuted there with Rigoletto and La Traviata, for which I received the award for Best debut at the Arena di Verona.
The special moments are also when the audience is very warm. I remember a show by Lucia, after which I was applauded for half an hour. The technicians dismantled the decorations, but the public did not want to go home.
After a career of almost 30 years, your voice is as fresh as it used to be, but definitely richer. What is the secret of vocal longevity?
I knew from the beginning that only a solid vocal technique can guarantee success and longevity in a singer’s career. I was fortunate to be born with a very good instinct of breathing technique, and breathing is the basis of singing. This is the conclusion I reached after years spent on stage. From the beginning of my study, I wanted to build a solid technical basis, because I was aware that the roles I wanted to play could not be addressed without being very well prepared from this point of view. I also had good singing masters in Iași, including Adriana Severin, an excellent soprano, but, considering that I attended the daily courses of the Iași Conservatory for only one year, among the trips between Iași and Munich, where in 1990- 1991 I was singing the Queen of the Night, I can say that my real training took place in Zurich, where I settled in September 1991. There, I had the opportunity to study and work with the greatest conductors, with stage partners, stars of the lyric scene, with exceptional directors and accompanists. Accompanists are very important in training an artist. I do not know what the role of an accompanist in the Romanian conservatories is, but the ones from Zurich have helped me a lot in the interpretation. As for technique, I had the opportunity to meet a singing teacher in Milan, Mildela D’Amico, with whom I have been working since 1996 and who was a colleague with Renata Scotto in the singing class of the famous Liopard singing teacher. I still go to study with her, when time allows it, and I often invite her to my shows. In Zürich I frequently study with Master Ion Buzea. He says that the technique is learned both before retirement and after retirement (laughs). Therefore, the technique can be continually refined, first and foremost, due to natural biological changes. My Lucia from 20 years ago is not the same as my Lucia from now, because we are already two different people from many points of view. We, the singers, constantly need external control. Although I record my rehearsals and listen to them carefully, when I study, I prefer to listen to someone else.
I want to sing as much as I can, because I know that God created me to bring joy to those around me.
In every role you play, one can see its deep knowledge, both from a musical and a dramatic point of view. What does it mean for you to learn a role and what are the steps you take?
Before learning a role, we need to document ourselves in relation to all its parameters, to know the content of the whole work, to understand the characters and to decide if it suits us. Only then do we begin the vocal and scenic work. Each sound has its importance and should be studied in detail and very seriously, preferably under the guidance of someone who knows your voice and can give you tips, both technical and interpretive. Thus, working for four to six weeks, together with the conductor and director, you are getting more and more into the character every day. When I work for a new role, it becomes a priority in my thinking, whether I’m on the street or at the supermarket, I try to put myself in the situations the character is and try to outline it through my personality, without imitating other interpretations. Even in terms of the roles I’ve played 100-200 times, I try to bring something new every time. We need to avoid routine, not to get stuck and always be ready for a new role.
I graduated from the pedagogical high school, one of the most demanding in Iasi, and I taught for 7 years as a teacher, during which I took exams to get admitted to the Conservatory in Iasi, this happening the fourth time, in 1990. I am glad that it happened so! Due to the high school teachers, I disciplined myself and learned a very good pedagogical basis. This helped me a lot in singing, because I know exactly how to learn each role. I have also successfully held masterclasses in Japan. There are many good singers who do not know how to teach.
What are your plans for the follow-up of this season?
Immediately after the show in Cluj, I will be in Verona, at the Teatro Filarmonico, for Anna Bolena – a role that I love wholeheartedly and which I find more difficult than Leonora. Even Norma, which I played in February in Muscat, is more accessible than Anna Bolena. After that, Lucia of Lammermoor in Genova. In other words, a tour of strength – Leonora, Anna Bolena and Lucia (laughs). In June, I have a very beautiful but very difficult recital in Zurich, with French and Romanian lieder in the first part, where I will sing the cycle 7 Chansons de Clément Marot by George Enescu, but also many other lieder by Chausson, Debussy, Fauré and Romanian composers, and in the second part, Verdi areas, to promote my new album to be released on April 27th.
Therefore, after Donizetti’s Heroines, Verdi’s will also appear on a CD signed by Elena Moșuc. Can you tell us what exactly this new album will contain?
Verdi Heroines, which will contain Verdi areas that nobody expects (laughs), Verdi’s heroines I can interpret in the future: the area of Don Carlos, Foscari, Aroldo, Attila, Vespri Siciliani, an area that is not frequently sung of Macbeth, a cabaletta of coloratura, both areas of La Traviata and I ended with Messa da Requiem, Libera me. I hope you will like it!
In addition to opera, you have tackled a wide range of genres, with the same success. Are there any fado, music hall and film music in Elena Moșuc’s life right now?
Four years ago, I did a very special concert, Operfado, with fado singer Gonçalo Salgueiro. I wanted to sing with him because he is the only singer in Portugal who sings elegantly. He is passionate about opera and this influences the way he plays fado. I had this concert for the first time in Iași, and then in Sibiu, Bucharest … It contained a combination of fado, opera and music, which I would resume if I had the necessary resources, the first of which being time.
Recently, I have created a personal concert concept, which I hope to have the opportunity to materialize on stage as soon as possible. The concert is called RESONANCE and is divided into two parts that complement each other. The first part is the „dark” one, with melancholy pieces, opera areas and fado pieces especially orchestrated for me, and in the second one the „light” comes, with more joy and happiness expressed through the interplay of opera and pop pieces, composed by Marius Dragomir and orchestrated for symphony orchestra. In both parts the classical guitar played by Bogdan Mihăilescu will appear. At the end of the concert I introduce Canzonetta for soprano and orchestra by Flavio Motalla, the best example of mixing opera and film music in Hollywood. I believe that such a concert could bring together a diverse audience and it is more suitable for outdoor festivals and events.
I have always liked to experiment, to do something new. I couldn’t always play the same roles. That is why, every year I need to have at least one role debut and one debut in a new theater.
What are the „conditions” that must be met and what does the daily routine of a successful opera singer look like?
As an opera soloist, first of all, you have to be aware that you have a responsibility in front of the public, even if your role is of one sentence. Even that must be sung well! You have to study a lot, read the books that served as inspiration for the works to be interpreted, have a discipline and a balanced lifestyle, because our instrument is not only made up of two vocal chords, but the whole body. So, we need to be rested, to know what and when it is good for us to eat, do some sports … If you want to make a career out of this, you have to be prepared from all points of view. In music, we performers are part of the creative process. It does not stop with the score, but it continues on stage, at every concert or show!
What helps the voice a lot is sleep. So, on the day of the show, I stay very much in bed until around noon. Also, I am very careful with what I eat, but also when I eat and avoid certain foods that do not do me good, which I have discovered over time. I had had problems with acidity for a long time before I realized which diet was favourable to me.
You are one of the few opera singers who theorize their scenic experience, or part of it, in the form of a doctoral work, without the clear intention to hold a position within the Conservatory faculty. How did you decide to write this paper and how did you choose the topic, the theme of madness in Italian opera from the first half of the 19th century?
I didn’t even think about writing a Ph.D., but, being friends with the mezzo-soprano Mihaela Agache, the wife of Professor Dan Voiculescu, who was also a doctoral tutor, he gave me this idea, under the assumption that I will never know when I will want to embrace a pedagogical career, at a university level. Initially, I wanted to choose another topic, but, considering that I addressed so many titles in which the heroine is in a slightly misplaced psychic situation (laughs), I had a flash one night and said „That’s crazy!”. What I wanted to demonstrate during this PhD thesis is how the mental illnesses of those characters can be illustrated with the help of music and its means. In this sense, I was fortunate that during the productions I did I had the opportunity to discuss with different directors with different perceptions about the situation presented by the booklet and, thus, I learned many things that can be found in my doctoral thesis, but also in the way I got to play the characters. For example, my favorite Lucia was the one in Brussels, directed by Guy Joosten, in which the heroine is not, in fact, crazy, but only pretends. I also talked about this directorial concept in the thesis.
Many things have changed with the passage of time regarding the approach of a young person in building a career in the field of opera. What do you think about the way young generations look at this job / vocation and what would you advise them to do?
Most young singers are very confident and consider themselves capable of becoming self-taught as soon as they graduate the Conservatory. They are „stars”, they do not accept advice and they want to get to the Metropolitan as soon as possible and unfortunately, that happens. They start singing at the age of 20 and they have to stop soon, because the employers have no interest in creating long careers. This is fashion today! It started about 10-15 years ago, but it has intensified lately.
At the beginning of my career, if I had received advice I would have thanked those who offered it to me, but today, if you make an observation to a younger colleague, they are upset. Two years ago, I sang La Traviata with a very young tenor, around 24 years old, who didn’t accept any advice. What’s more, he told my agent he didn’t want to play with me anymore. Since then, I have not givenn advice unless asked. I believe that if you want to evolve, you must accept advice and criticism. We are not and we will never be perfect, but we must remain open to do this.
I have had times when even critical journalism has helped me. Although at first, I was upset about any negative criticism, reading it carefully I became more objective and learned a lot. Ages ago, I would read more of what was written about my performances.
My goal was not, from the beginning, to reach the Teatro alla Scala or the MET. I wanted to technically develop my skills. At the age of 26, when I started my career, I also gave, out of curiosity, an audition at La Scala, although I knew it was not the right time. I arrived at La Scala after 17 years of musical career, and at the Metropolitan, after 20. Today, things are going the other way round. The young people are in the first cast, and the experienced ones in the second.
My advice for the younger generation is to find a good singing teacher, which is very difficult today, and listen to a lot of recordings, to form an ear in order to succeed in discerning which one really deserves their attention. Another important thing is to understand that the repertoire must be slowly built, within the possibilities of each stage of the career, without forcing their voice.
You seem to have conquered everything that could be conquered, from the perspective of an opera soloist. Is there anything you still dream of?
My dream is to have my own orchestra, to no longer depend on any agent, and to have my team to travel around the world.1