Charming beginnings: Aitana Sans Perez

Born in Valencia (Spain), Aitana studies both piano and singing. She graduated with honors in Valencia, joined Maren Artists Agency and is now pursuing her master’s degree in “Vocal Performance” at the Universität für Musik und Darstellende Kunst in Vienna in the class of soprano Krassimira Stoyanova and the baritone Florian Boesch. At the age of 19 she made her debut at Teatro Pérez Galdós in Las Palmas de Gran Canaria singing Una Voce dal Cielo in Verdi’s Don Carlo. Due to the initial Covid-19 lockdown, she wasn’t able to return to the theater as Sacerdotessa in Verdi’s Aida. However, she returns in June 2022 as Olympia in Les Contes d’Hoffmann, due to Jessica Pratt’s indisposition because of Covid. Also, in the summer of 2022 she was as a member of the Accademia Rossiniana directed by Ernesto Palacio at the Rossini Opera Festival, where she makes her italian debut as Contessa di Folleville in Il Viaggio a Reims. Part of her future plans include debuting Oscar (Un Ballo in Maschera) in USA in November 2022, Soeur Constance (Dialogues des Carmélites) in 2024, and the soprano part in Beethoven’s 9th Symphony in 2023. Her awards include the first prize in the Nomea international singing competition, the prize for The Best Young Talent in the Otto Edelmann Singing Competition, the prize of the Fundación Victoria de los Ángeles at the IV Concurs de Cant Josep Palet, the award of excellence for the Russian song at the Romanian Grand Prix International singing competition and the 2021 scholarship for musicians from the Güell Foundation of Barcelona.

This summer you were a member of the Accademia Rossiniana at the Rossini Opera Festival, where you made your debut as Contessa di Folleville in Il Viaggio a Reims. How was it to be part of one of the most important festivals in Italy? How was your experience there?

It felt surreal. Almost this whole summer has. I was so excited, yet so nervous. Singing in this historic place, that repertoire and stage production was really overwhelming. And I am so grateful it all went well and I was so lucky to have had many good feedbacks. I have learnt a lot from this experience. It was also very special to be able to attend all three general rehearsal of the operas programmed for the Festival and to see how the public really appreciates this repertoire and the singers performing it.

Speaking of Rossini… Why Rossini? What is the secret of perfect coloratura?

I think I mentioned before that if you have told me a while ago I would be singing at the ROF I would have not believed you, because I really struggled with coloratura when I began singing and actually I did until not too long ago! So… I don’t know if there is a secret. I think every singer, as every person, is different and there are so many ways one can approach something. In my case, it came after many years of working on my technique, looking for the best sound and keeping the roundness of my voice, but reaching a certain amount of lightness. So, from that point I could just practise from slow to fast and master my coloratura! As we say in spanish ‘La práctica hace al maestro’ – Practice makes the teacher. Although, all things said: my coloratura, for example, will never be as fast as many others I hear (and admire). And there’s nothing wrong with that. Differences are what make us rich of nuances after all!

Read the entire interview here, in the 7th/2022 issue of OPERA Charm Magazine.


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