Q&A: Natasha Novitskaia On The Challenges Of Transitioning From Soprano to Mezzo

Russian-born Natasha Novitskaia is a mezzo-soprano who has excelled in such roles such as Dalila, Santuzza, Amneris, Azucena, Lyubasha among others. From an early age, Novitskaia received early training in singing and classical piano and obtained a Bachelor’s degree in Vocal Performance at the Marylhurst University and a Master’s degree in Russian Literature from St. Petersburg University. Although she began {…}

Sticking to the Score – Krassimira Stoyanova On Finding Musical Surprises From A Conservative Approach to Verdi, Verismo & Bel Canto

Krassimira Stoyanova is not your typical diva. Nor has she managed to carve out a career with the “expected” working conditions for most singers of her caliber. Since her debut at the Sofia National Opera House in 1995, the Bulgarian soprano has become a famed interpreter of the Italian operatic repertoire, singing at all the greatest theaters in the world. Her {…}

Life & Art Imitate One Another – How Ana María Martinez Uses Real Life to Immerse Herself In Her Characters

During a conversation with OperaWire regarding her upcoming performances of “Madama Butterfly” at the Royal Opera House, soprano Ana María Martinez related a story regarding her deep connection with the work. She narrated how during her first production of the opera at the Houston Grand Opera in 2010, her son was around the same age as the title character’s child {…}

An Indomitable Force – Mezzo-Soprano Annalisa Stroppa on Playing ‘Carmen’ & Rosina in ‘Il Barbiere Di Siviglia

When she was a young girl, mezzo-soprano Annalisa Stroppa would come home from school to a healthy diet of “The Three Tenors” and Mario del Monaco. Her grandparents idolized these artists and quickly impregnated their granddaughter with an unshakeable passion for opera. “That’s when I discovered I had a special voice and from then on, there was no one stopping {…}

The Art of Vocal Longevity – Adrianne Pieczonka On Tackling Two of Her Most Difficult Operas, ‘Fidelio’ & ‘Elektra’

How do you maintain a dramatic soprano voice fresh? The answer isn’t always obvious for a singer of that voice type. These voices, prized for their sheer power and weight, often face the most difficult repertoire in the operatic canon, many of which can be damaging if sung too often. But for acclaimed Canadian soprano Adrianne Pieczonka, who sings Beethoven’s {…}

It’s Good to Be King – Matthew Polenzani On ‘Idomeneo,’ His Favorite Mozart Opera

Matthew Polenzani loves Mozart’s “Idomeneo.” During a recent interview with OperaWire, the tenor went so far as to call it the composer’s “greatest opera.” That’s right, with output that includes gems such as “Le Nozze di Figaro,” “Don Giovanni,” “Così Fan Tutte” and “Die Zauberflote,” Polenzani, who is among the greatest exponents of these very operas, puts his marker on {…}