Violetta Urmana had not sung at the Metropolitan Opera since 2017.

For 16 years, she was a leading soprano for the company, performing both mezzo and soprano roles in many of the most dramatic roles in the repertoire. Her “Aida” was one of the most memorable interpretations and was even recorded on HD, while her “La Gioconda” was iconic. She was also featured in the company premiere of Verdi’s “Attila.” Other roles included Santuzza, Tosca, and Kundry, with which she debuted back in 2001. Now the legendary singer is back at the Met as the Countess in “The Queen of Spades.”

Urmana has dropped many of the leading roles she used to sing and is now in a period of her career in which she is taking on supporting roles like the Countess and in the coming season La Cieca in “La Gioconda.”

OperaWire spoke to Urmana about her return to the Met and the new roles she is taking on.

OperaWire: What does it mean to return to the Metropolitan Opera?

Violetta Urmana: It has always been wonderful to work at the Met, and I’m happy to return to the Met family. I enjoy modern opera productions with unexpected interpretations, but this time I had a special experience singing in a traditional production directed by Elijah Moshinsky. I previously performed in his absolutely fabulous “Ariadne auf Naxos,” and now it’s a unique experience to portray a truly aristocratic Countess. In such a setting, it’s not difficult to do so.

OW:  You have sung many leading roles at the company. Now you are singing the Countess in “The Queen of Spades.” How does this role compare to other work you have done with the company?

VU: Yes, I’m a lucky singer! My debut at the Met in 2001 was as Kundry in a beautiful production of “Parsifal.” I’ve sung in older productions like “Don Carlo,” “Cavalleria rusticana,” “Andrea Chénier,” “La Gioconda,” “Ariadne auf Naxos,” and “Aida.” Later came newer ones like “Tosca” and “Cavalleria” again.

Now I’m singing a much smaller role — the Countess — but it’s still an important one, and there’s always something to do. During the almost four hours of the opera, I don’t have much time to relax. There are many changes in those wonderful costumes, and I’m involved in several scenes even when I’m not singing. It’s lovely to be part of everything happening on stage. The music is so exciting and rich in color. My part has wonderful moments too — just think of that beautiful French song! I really enjoy this role. And it’s not as demanding as many of the roles I’ve sung before, which can sometimes make you quite nervous.

OW: Your interpretation is breathtaking. Tell me about your approach to the countess, and how do you view her as a character?

VU: As always, I try to feel the atmosphere of the music and find the right vocal color to become part of that atmosphere. It’s not something I calculate — I simply try to feel it, as if I am that person in that particular moment. It’s a process. Of course, the voice must obey — and that’s why we study vocal technique.

My approach always depends on the director’s concept. The set design, the costumes, and the psychological interpretation all contribute to completing the portrait of a role. The audience must believe that what they’re seeing is a real moment in the life of a real person. If that doesn’t happen — if you don’t convince them — something is wrong. Even in a more unusual or abstract concept, I must find my own justifications for every action on stage and bring my own imagination into it. Often, this actually supports and enriches the director’s vision. If you bring nothing of yourself to the role, it never fully works.

The Countess is a mysterious lady. Everyone talks about her — her past, her secrets. She’s strict with Lisa, but she loves her. She senses the danger of falling in love — especially with a strange man like Hermann. Even though she doesn’t know what’s happening between Lisa and Hermann, she can feel in her bones that something bad and unexpected is about to happen. And she knows that something will happen to her, too. It’s already there, in Tchaikovsky’s music.

OW: One of the most memorable moments of your performance was the end of your aria with this hushed pianissimo. How do you create a sound so soft and haunting, and know that it will project into a house like the Met?

VU: At this moment, the orchestration is minimal. The aria begins with a soft yet tangible sound, bringing certain special words to life through the use of the chest register. The second part of the aria must be sung with a fading sound—triple pianissimo (ppp)—as she is slowly falling asleep. I’m not concerned about this being heard by the audience, as the orchestral accompaniment is very light. The vocal challenge lies in managing the register transitions. The chest register can become too strong compared to the middle voice, so the shift between them must be smooth and controlled..

OW: Tell me about the collaboration with your colleagues and how the performances have been for you.

VU: The collaboration with my colleagues has been great, and the performances are going very well. The audience loves our shows. We had many rehearsals because the production is colossal, with many details to manage and a lot of coordination required between the soloists, chorus, and actors. But the result is remarkable.

OW: It seems like you are moving into more supporting roles in your career. Do you find it to be less pressure?

VU:  Yes, I’ve already moved into smaller but very interesting roles. There’s much less pressure, even though some of them are quite demanding.

My absolute favorite role is Klytämnestra in “Elektra.” I’ve also sung Kabanicha in “Káťa Kabanová,” Babulenka in “The Gambler,” Herodias in “Salome,” Zia Principessa in “Suor Angelica,” Waltraute in “Götterdämmerung,” and three other roles in Prokofiev’s operas. I’m very happy with these roles. After 31 years of career, it’s time to relax a little.

OW: Next season, you are singing La Cieca in “La Gioconda.” You are a famed Gioconda. What does it mean to be able to go back to an opera you made your own and sing La Cieca?

VU: Gioconda was one of my favorite roles. In the first season of my career, I sang Laura — a wonderful role. But even then, I was already thinking how amazing it would be to sing Gioconda! And nine years later, I did — first in a recording with Plácido Domingo, and later on stage, with great joy. The production at the Met was extraordinary — it had once been sung by Corelli and Tebaldi many years before! I was so happy.

In the next season, I’ll move on to the role of La Cieca. It’s also a beautiful part to sing, and the audience loves her. Being blind on stage and treated badly will probably be less fun, but I’ll do my best to manage it!

OW: Does it excite you to sing this work again?

VU: I love the music of Amilcare Ponchielli so much, and “La Gioconda” is, in my opinion, his greatest opera. He also wrote an opera called “I Lituani (The Lithuanians),” which holds special significance for my nation. That makes me love Ponchielli even more. I’m very much looking forward to being part of a new production of “La Gioconda” in Barcelona.

OW: Do you think your interpretation will be influenced by your views on La Gioconda’s character?

VU: In many operas, I have sung both soprano and mezzo parts. Of course, I know this opera perfectly. But when I sing La Cieca, I will think, sing, and simply be her. It always depends on the director’s interpretation, but this time I will fully develop this character and be just the mother of Gioconda. I don’t plan to be influenced by my previous experience.

OW: What are some of the other roles you are excited about?

VU: I don’t have any dream roles anymore. I love Wagner, and maybe one day it could be Erda. I still sing Brangäne and Fricka. A few roles are still waiting for me, and we’ll see when and where that will happen.