(Credit: ©Todd Rosenberg)

Rosa Feola is one of the most acclaimed sopranos of her generation and sought-after for her distinct lyric soprano and her impeccable acting.

She has sung at many of the most important houses in the world and since 2019 has been at the Metropolitan Opera performing productions of “Le Nozze di Figaro,” “Fedora,” “Rigoletto” and “La Traviata.”

Now the Italian soprano is set to perform Musetta in Franco Zeffirelli’s legendary production of “La Bohème.” She will also perform at the Met’s jubilee gala.

OperaWire had a chance to speak with Feola about Musetta and her experiences at the Metropolitan Opera.

OperaWire: What does it feel like performing at the Metropolitan Opera?

Rosa Feola: The Metropolitan Opera offers a truly unique theatrical experience. Even though I am accustomed to singing on stages all over the world, every single time in New York feels distinct. There is a tangible sense of celebration in the air—an energy centered around honoring art, sharing the experience, and making every moment special. I always feel welcomed with enormous enthusiasm, and that warmth creates a working environment and human connections that naturally lead to something extraordinary on stage.

OW: Having performed at the theater since 2019, what has been one of your greatest memories performing there?

RF: Celebrating New Year’s Eve at the Met! I’ve had the joy of celebrating it twice right after two major opening nights. Ringing in the New Year with fireworks after an important premiere isn’t something that happens every day, and those moments remain truly unforgettable for me.

OW: You’ll be performing as Musetta at the Met. Tell me about the character and how you see her?

RF: Musetta reveals three distinct facets of her personality across the opera:

Act two: She commands the room—she loves being the center of attention, knows the magnetic power of her charm, and expertly uses her femininity to captivate everyone around her.

Act three: Here we see how complex is her relationship with Marcello. Their love is famously tempestuous, filled with passionate arguments and fiery jealousy.

Act four: We witness a powerful transformation: behind the glamorous facade lies a selfless, deeply caring woman with heart of gold.

What I absolutely love about her is her absolute confidence. She simply doesn’t care about others’ judgment. She is full of passion and is such a vibrant, intense woman—and I adore intensity!

OW: What are some of the biggest challenges of this role?

RF: The vocal and technical challenge lies in conveying her fierce character. This translates into sharp vocal accents, ascending scales fueled by anger or frustration when she’s vexed, and authoritative commands to Alcindoro—which then immediately shift into luscious, legato singing to seduce. Finally, in Act IV, her prayer becomes an intimate, desperate plea requiring warm, pained central notes. Balancing those dramatic vocal shifts is the real key.

OW: How does it compare to Liù, for which you are highly acclaimed?

RF: Liù and Musetta could hardly be more different, yet both are driven by an extraordinary capacity to love. Liù’s love is quiet, almost invisible, and entirely selfless. Musetta’s is passionate, physical, and impossible to hide. What fascinates me is that Puccini gives both women enormous emotional strength, but it takes completely different forms. Liù finds her strength in devotion, while Musetta finds hers in the freedom to express exactly what she feels. What I find most beautiful is seeing how differently women can experience and express love depending on their circumstances, their freedom, and the social pressures surrounding them.

OW: What excites you about singing Puccini?

RF: Singing Puccini puts your emotions to the test. He had an incredible gift for putting the human soul into music and piercing straight through to the heart. Different moments touch different listeners in unique ways, and that is precisely his triumph—he reaches everyone. Every emotion is written so meticulously into the score that Puccini doesn’t need to be “reinterpreted;” he simply needs to be executed by following his clear, unmistakable directions.

OW: Tell me about singing in the Zeffirelli production. Why do you think it has lasted so long?

RF: I have watched this Zeffirelli production at least ten times, and I never tire of coming back to it. There are always new details to discover. It has endured because it is so brilliantly crafted—it strikes the audience with its absolute authenticity, mirroring reactions we would genuinely have in real life, all wrapped in immense scale and beauty.

OW: Tell me about your colleagues and how have rehearsals been?

RF: Rehearsals have been incredibly exciting! The energy in the room is amazing—from the assistant directors and music coaches to the conductor and my wonderful colleagues on stage, literally everyone is working together with such passion! We’ve been diving into all the subtle details that make these characters so rich and vivid. Musetta is going to be so witty, spirited, vibrant, and intense. Collaborating with such a dedicated group of people makes every single moment in the rehearsal room a complete joy

OW: What are you looking forward to in this season?

RF: My upcoming season is packed with a lot of concerts, which offers a wonderful chance to showcase a diverse repertoire through chamber music and opera recitals. I love storytelling, and crafting a recital is always a thrilling challenge for an artist. I also have exciting role debuts ahead, like Luisa Miller, alongside beloved roles I’m returning to, like Violetta and, of course, Liù. On top of that, I’m working on a recording project dedicated to one of Mercadante’s lesser-known operas!