Anna Pirozzi: . I focus more on the beauty of the sound, breathing, the support. I advise young singers to concentrate on the base and the foundations of singing, and then build the “skyscrapers”, the “palaces of many floors”.

International commitments in 2016/2017 saw her debut at the San Francisco Opera in the role of Maddalena di Coigny in Andrea Chénier, at the Teatro Real as Lady Macbeth alongside Plácido Domingo, and at the Opéra de Monte-Carlo in the role of Abigaille in Nabucco and the debut in the role of Turandot in Israel under the musical direction of Zubin Metha; Macbeth at the Teatro Massimo in Palermo, at the Teatro Regio in Turin and at the Edinburgh Festival and Andrea Chénier at the ABAO in Bilbao. Teatro Regio in Turin in the role of Amelia in Un ballo in maschera in 2012, it was her absolute debut in a theater and a real turning point in her career. She was Lady Macbeth in Macbeth 1st version 1847 at Teatro Regio di Parma, at the Deutsche Oper Berlin, Abigaille and two Opera House debuts at the Lyons Opera always with Abigaille and at the Teatro Colon in Buenos Aires again with Norma. Her last major debut with immense success was her Lady Macbeth at the Metropolitan Opera in New York.

Dear Anna, I’m honoured to finally have the chance to chat with you! I know that my questions find you in Turkey, where you’ll have two concerts alongside two of your dear colleagues, the tenor Murat Karahan and the conductor Francesco Ivan Ciampa, after the great success you had at the Royal Opera House. How do you feel about this and what is Christmas going to be for you?

It’s been a long two months in London, but really intense and beautiful… it’s been a great success for me. I already knew that London audiences are very affectionate, but I didn’t expect them to be so affectionate with me. I was so happy with every performance… we worked so hard on this Macbeth and the results were really good. Then I sang three performances of Tosca in cast B with a very good young tenor making his debut, Freddie De Tommaso. It is a role I have sung many times, but never in this very beautiful historical production in which I was so pleased to participate. I was doubly happy because this production was also a great success… those who appreciated me in Macbeth also came back to hear me in Tosca! Immediately after the last performance, I hoped to go home because it had been so many days since I had seen my children and family, but I was invited by Murat Karahan to sing two concerts in Turkey, the first in Ankara and the second in Budapest: I must say I am very happy to have accepted. For me it was the first time in this beautiful country, and I found a fantastic audience, a wonderful organization and two beautiful cities, full of history, Ankara and Istanbul. Murat treated me like a queen and I had the chance to sing arias like “O mio Babbino Caro”, an aria that always makes an impression, even if it is meant for a lyric soprano, and which I had sung only once before, with Maestro Domingo. On 25 December, I returned home and was finally able to re-embrace my family who had just come out of quarantine because of Covid, which thank God they had without any symptoms. Now we are all happy at home and will spend Christmas in peace.

Can the success and the love of the English public fulfill or replace your desire of being the protagonist of the great season opening of Teatro alla Scala, which we know, is one of your biggest wishes?

I was delighted to be, at the same time as the premiere at La Scala, the lead in Macbeth at the Royal Opera House, a very important theatre. That’s how it was this year and I was happy to have sung in London in one of the theatres where I perform most often and where I have always had great success since the first time: I always come back with joy and it repays me very much for all my sacrifices. Surely if they had called me at the last minute to sing at La Scala I would not have given up my performances at the ROH because I had already made a commitment, but Italy is my country and I would certainly like, at least once in my life, to make my dream come true… as you all know I would like to sing in a season opener in Milan. I really hope it will happen soon, but if not, I will continue my beautiful path and my beautiful career.

The beginning of 2022 finds you at WienerStaatsoper for the second year in a row. After last year’s Nabucco alongside Placido Domingo, this year Macbeth with an almost fully Italian cast. How do you feel in Wien and what is your relationship with the public htere?

I am happy to be here in the beautiful city of Vienna, which I love so much, to sing Macbeth together with Freddie de Tommaso, Luca Salsi, Roberto Tagliavini and Giampaolo Bisanti: we really are a close-knit team! Unfortunately, the audience is small because of the Covid restrictions adopted by the Austrian government, but equally warm. I would like to remember the Macbeth sung in Madrid with Placido Domingo and take advantage of this interview to wish him a happy birthday: “Happy birthday Maestro!”


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