Elena Moșuc has been singing for 36 years, having made her debut in 1990 before making her Zürich Opera House in 1991. It was there that she built the foundation of a career defined by coloratura roles and the light lyric repertoire of the Bel Canto tradition, establishing herself among the leading interpreters of that style on stages across Europe.

As her career progressed, Moșuc gradually expanded into the more dramatic corners of the coloratura repertoire, taking on roles including “Il Trovatore,” “Luisa Miller,” “Lucrezia Borgia,” “Il Corsaro,” “I Lombardi,” “Anna Bolena,” and “Roberto Devereux,” among many others. Each of these parts pushed her voice toward greater weight and dramatic range, laying the groundwork for a transformation that has defined the later stage of her career.

Now, decades into that evolution, the soprano is preparing to take on what she considers her most demanding assignment yet: Abigaille in Verdi’s “Nabucco.”

The role has long carried a formidable reputation. Its extreme range and unforgiving demands have earned it recognition as one of the most punishing assignments in the soprano repertoire, so taxing that it is often described as a “voice killer.” For Moșuc, taking on Abigaille at this point in her career is not an impulsive decision but the product of years of vocal development and careful consideration.

The soprano spoke with OperaWire about why she waited until now to approach the role, how she prepared for its unique challenges, and how she understands the psychology of the character she is bringing to the stage.

OperaWire: As a singer, you are well known for your bel canto. Why did you think it was the right time to take on the role of Abigaille?

Elena Moșuc: First of all, I would like to emphasize that Abigaille is, above all, a bel canto role. Giuseppina Strepponi, the wife of Verdi, was primarily a bel canto soprano who transitioned into early Verdi, and Abigaille is her most historically significant dramatic role. She sang Amina in her early career! For me, also it represents a natural progression in my artistic journey, which began with the Queen of the Night in “The Magic Flute,” Gilda, Lucia and Violetta in “La Traviata,” continued with Elvira (“I Puritani”), Linda, the Tudor queens, Norma, Giselda, Luisa Miller and Imogene, and has now, at the most opportune moment in my vocal and musical development, led me to Abigaille.

Near in our time, Cristina Deutekom also sang the same repertoire that I sang and she also performed Abigaille.

I believe that, over time, a slightly mistaken perception of this role has developed. It has often been entrusted to sopranos who are excessively dramatic, with a labored delivery in the high register, or to voices which, for various reasons, have distorted the character’s musical image. For this reason, it never even crossed my mind to perform Abigaille.

Everything changed when a few people who know my voice and vocal capabilities very well suggested that I study the role and give it a go. I admit I was surprised by this recommendation, all the more so as Abigaille was not a role that particularly appealed to me. However, given the development of my voice towards the dramatic coloratura repertoire, I decided to give it a go.

I began by studying only Abigaille’s entrance scene, a crucial moment that very quickly reveals whether or not you have the necessary resources to tackle this role. The results exceeded my expectations. Of course, it didn’t happen overnight, but gradually, as I incorporated these pages into my daily practice, initially as a technical exercise, alongside my preparation for other roles.

I began my in-depth study of the role the moment I received the invitation from the Coro Siciliano in Catania to play Abigaille at the Festival dei Teatri di Pietra in Sicily. I am deeply grateful to this festival for the trust and courage shown in entrusting me with such a demanding role at a particularly significant moment, marking the revival of the opera “Nabucco” at the festival after a 50-year hiatus.

I feel that this is the right moment for me and my voice to portray Abigaille, as it is a role that demands artistic maturity. The experience I have gained from all my previous roles has given me not only greater vocal range, but also greater refinement, expressiveness and interpretative depth. All of this helps me to bring to life this fascinating warrior woman from “Nabucco,” a complex and passionate character, whose music – with its extraordinary dramatic force and vitality – continues to captivate audiences around the world.

I have already had the opportunity to perform Abigaille’s aria in two concerts this year. The first performance took place at a concert organised by my friends and fans at Verona Lirica, on the stage of the Teatro Filarmonico in Verona, with piano accompaniment. The second was on May 24, on the stage of the Romanian Athenaeum in Bucharest, alongside the Bucharest Symphony Orchestra.

These two experiences gave me the confidence that this role comes naturally to me. The enthusiastic reaction of the audience and my admirers, as well as my own feeling on stage , have shown me that I possess the vocal resources, temperament and expressiveness needed to bring this highly demanding role to life.

I should point out that I have never chosen to perform a role until I was certain that I could bring it to life authentically, from every angle. 

OW: The role is one of the most challenging in the repertoire. Why do you think it is known for this?

 EM: The role of Abigaille is considered one of the most difficult in the entire dramatic coloratura soprano repertoire because of both vocal and dramatic reasons. Here is a list that comes to mind:

• It demands an extreme vocal range. The score calls for very low notes, typical of a mezzo-soprano, as well as brilliant and powerful high notes, which requires a voice with an unusually wide range.
• The role presents a technical challenge. Verdi combines passages of great virtuosity, requiring agility and coloratura, with sweeping, dramatic phrases that demand impeccable control of breath and vocal projection.
• Although the role is not long, it demands physical and vocal stamina. Abigaille sings extensively and intensely throughout the opera, with few moments of respite. The role is very demanding and can exhaust even experienced sopranos. I think the aria is a rather tiring moment, as it comes immediately after a demanding ensemble with the chorus and soloists.
• It requires volume and perfect projection of the sound. The orchestra is large, and the voice must carry over it without losing clarity or expressiveness. To achieve this projection – which is essential in absolutely all operas, but particularly so now for Abigaille – I worked intensively with my teacher Mildela D’Amico before my debut in 2001 at the Arena di Verona, bearing in mind that the venue is very large and you have to be heard very clearly. Similarly, in the ancient theatres of Sicily, I will need to be very focused on achieving maximum projection.
• Dramatic complexity. The character goes through extreme emotional states: ambition, anger, jealousy, cruelty, despair and, ultimately, remorse. The performer must convincingly convey this psychological evolution.
• Vocal risk. Over the years, numerous sopranos have admitted that the role can jeopardize the health of the voice if tackled too early or without a very solid technique. For this reason, many singers postpone it until their voice is fully mature. Even a conductor told me not to sing this role because I might lose my voice. I can see that after two months of studying Abigaille, I haven’t lost my voice ;;;))))) In my case, the timing is perfect. I have 36 years’ experience in my career, which allows me to sing this role too – one that neither I nor many other sopranos ever dreamed of.

That is precisely why Abigaille is often regarded as a veritable ‘Everest’ of the Verdi repertoire for sopranos: success in such a performance is seen as confirmation of exceptional vocal technique, great stamina and remarkable artistic depth. And, on this occasion, I would like to make a confession: I am singing this role for myself, to prove to myself that I can do it! I also very much hope to bring joy through my singing to those who will be listening to me.

OW: How are you approaching this role and what are the biggest challenges for you Tell me how you see this character?

 EM: Abigaille is one of those roles that demands vocal, technical and artistic maturity. I only took it on once I felt I was ready to tackle it from every angle. For me, the greatest challenge is finding the balance between the extraordinary strength demanded by the score and the character’s fragility.

At first glance, she seems strong, ruthless and driven by a desire for power, but, at her core, all her actions stem from a deep wound: rejection, a sense of not belonging, and a desperate need to be loved and recognized. It is precisely this inner struggle that makes her so human. For me, Abigaille is not a villain, but a woman who makes tragic decisions because of her suffering and vulnerability.

Vocally speaking, the role demands exceptional stamina and flexibility, so every rehearsal requires constant attention to technique and the pacing of my energy. I’m really looking forward to the rehearsals!

OW: How does it compare to your other Verdi roles? Are any similar to this one?

EM: I don’t think there’s a role I can compare entirely to Abigaille. However, every Verdi role I have performed has helped me to arrive at Abigaille. Gilda gave me technical discipline and elegance of phrasing; Violetta taught me to combine virtuosity with dramatic intensity; and Giselda, Medora, Luisa Miller and Leonora (“Il Trovatore”) developed my lyricism, expressiveness and dramatic power. Alice Ford brought me a different kind of stage freedom and a different energy. Yet Abigaille is different from all of them. It is a role that brings together almost all these qualities and takes them to an extreme level, both vocally and dramatically. From this perspective, I feel that all my previous experiences have prepared me for this role. I consider her one of the most complex female characters in Verdi’s oeuvre and in the world of opera.

I know that for many people my choice to play Abigaille may seem surprising. However, I have grown accustomed to the preconceptions of some. Throughout my career, there have been many who could not see me as Giselda in “I Lombardi,” nor in other roles outside the Verdi repertoire, such as “Norma” or “Adriana Lecouvreur.” Nevertheless, all these performances exist; they are documented in TV broadcasts and can be watched on YouTube or Mezzo TV, demonstrating my artistic capabilities.

Right from the start of my career, I have been keen to develop and expand my repertoire, rather than remain confined solely to the image of Gilda or Lucia. These are extraordinary roles, which have brought me recognition and to which I owe a great deal, but they have also formed the foundation upon which I have built the next stages of my artistic journey.

I believe an artist must be on a constant quest. As long as we have the opportunity to learn and develop, it is only natural to evolve, to take on new challenges and not to remain stuck at a single stage in our career.

OW: Now that you’re performing Abigaille, do you think Lady Macbeth will be next?

EM: I believe every role comes at the right time. Abigaille represents an important step in my development, but I don’t like to plan my career according to a pre-determined list. If my voice and artistic journey lead me towards Lady Macbeth, I will approach it with the same sense of responsibility with which I have approached all the major roles in my repertoire.

Of course, there are characters I’d very much like to perform in the future. Lady Macbeth is one of them, but so are Elisabetta in “Don Carlo,” Amelia in “Simon Boccanegra,” and – why not – at the right time, even “Aida.” I’m also drawn to Cherubini’s “Medea,” a role of extraordinary dramatic power. However, I prefer to let my voice guide me and to choose each role only when I am convinced that I can do it justice, both vocally and artistically.

OW: You’ll be performing Abigaille in Sicily. Why was this the perfect place to do it?

EM: The truth is that I didn’t choose the place; the place chose me. I firmly believe that certain encounters in an artist’s career happen at just the right moment. My debut as Abigaille in Sicily wasn’t the result of a plan, but of a natural progression. I am grateful that this first step is taking place in a theatre and in a region with such a strong tradition in Italian culture and in Verdi’s music. I don’t believe there is a “perfect place,” but rather a right moment, and for me this is that moment.

Between my performances as Abigaille, on August 1, I will return to Verona to receive the Cigno del Garda Award at the Garda Festival. The event will also give me the opportunity to pay tribute to the great Pier Luigi Pizzi, who will be honored with the Piccinni Prize and under whose direction I made my Italian debut at the Teatro dell’Opera di Roma, performing the Königin der Nacht in Mozart’s “Die Zauberflöte.”

I would like to thank Garda Festival Artistic Director Maximilien Seren-Piccinni for this invitation and for creating an event that will also celebrate the 25th anniversary of my Verona debut at the Arena, where I performed Gilda in “Rigoletto” and Violetta in “La Traviata.”

OW: Tell me about performing in Sicily and what do you like about it?

EM: I have a very special connection with Sicily. Two years ago, I had the joy of performing the role of Liù in “Turandot,” alongside the Coro Lirico Siciliano, as part of this festival in Tindari and Taormina. It was an experience that has stayed with me and which I cherish with great gratitude.

It wasn’t just about the artistic and professional standards, which are very high, but also about the people I met there. I found extraordinary colleagues – soloists, choristers, orchestra musicians – warm, generous and dedicated people who create an environment where you feel you can give your very best.

That is why I am returning to Sicily with great joy. The fact that the same team is now offering me the chance to make my debut as Abigaille means the world to me. It is a gesture of great trust and courage on their part, because it is an exceptionally difficult role, and performing it in an open-air production adds further challenges compared to a theatre auditorium. I am deeply grateful for this trust and hope to repay it with a performance that lives up to expectations.

My debut as Abigaille is the result of an artistic relationship built up over time, based on mutual trust. I take this opportunity to thank Maestro Alberto Munafò and Maestro Francesco Costa.

OW: It seems you are moving into more dramatic territory with “Tosca” and “Abigaille.” What else do you want to add to your repertoire?

EM: Yes, it is true that in recent years my repertoire has evolved towards roles with greater dramatic intensity. However, I believe this evolution has come about naturally, as my voice and I have matured as an artist. I have never forced things, nor have I chosen a role simply because I wanted to sing it. I have always waited for the moment when I felt I was ready.

The role of Tosca, which I made my debut in on November 3 last year, had been a dream of mine since my youth. In many interviews I’ve mentioned that, towards the end of my career, I’d like to perform Tosca. And it’s a dream every soprano has, it’s just that some manage to fulfil that dream, like me, whilst others do not. And before Tosca, in 2024, there was Cio-cio-san, another role that I didn’t necessarily want to have in my repertoire, but it came my way.

In the future, I’d like to add the roles I mentioned before, as they are interesting characters of extraordinary dramatic complexity.

But, beyond the list of roles, I want each new stage in my career to feel natural. For me, the most important thing is the quality of the performance. I prefer to sing fewer roles, but to be able to perform them with sincerity, maturity and respect for the music and the composer.