Christina Poulitsi: I had to work hard, but it was worth every penny, because I know exactly what I am doing and that makes me feel very secure when I step on the stage


Praised for her crystal clear coloraturas, high notes and warm lyric color in all of her registers, Christina Poulitsi has already established herself in some of the most prestigious opera houses today. Although she is acclaimed as “one of the best interpreters of the role of the Queen of the Night today”, her collaboration with conductors such as M° Zubin Mehta and M° Gianandrea Noseda have broaden her repertoire with roles like Gilda, Lucia di Lammermoor, Konstanze. In season 2019/2020 Mrs Poulitsi added two other significant roles: Violetta Valery at the State Opera of Hamburg and Amina from Bellini’s La Sonnambula. Poulitsi opened last season as Queen of the Night at Teatro del’Opera di Roma, continues debuting the role of Manon / Massenet in Athens and repeating her success as Lucia di Lammermoor in ROH’s production, whereas she will perform the Queen of the Night in New York, Australia and New Zealand.
As a scholar of the “Maria Callas” foundation and “Alexandra Trianti” scholarships she studied at the Berlin University of Arts with soprano KS Brigitte Eisenfeld and KS Dagmar Schellenberger . In 2014, she was named the best new artist by the Union of Greek Critics of Drama and Music for her performance as Gilda in Rigoletto at the Greek National Opera. Previously, she won the 1st Prize at the International “Nico Dostal” Competition in Vienna.

Christina, it’s a pleasure to have the chance to talk to you again and, before we start our conversation, I’d like to thank you for your kindness, for accepting my invitation and for supporting OPERA Charm! During these times, the best thing we can do is offering Opera lovers the chance to take a look at the people behind the voices. I know that you are home at the moment, in Athens, and your March and April schedule have been cancelled. When are you supposed to turn back on stage? I’m supposed to start rehearsals at the end of April for a new production of Rigoletto at the ancient theatre of Herodes Atticus and the Greek National Opera. The performances are supposed to take place at the beginning of June, but I don’t think this will be possible. I really miss the energy on stage and the communication with the audience. I get very engaged when I’m onstage and I really hope we will be able to return there sooner than we think.

Even though you are not part of a family of musicians, you started you music studies at the age of 5 in  kindergarten and then you continued by studying the guitar, having a strong theoretical musical basis. How did you arrive at the point when you decided that you wanted to become an opera singer and who guided your first steps on this path? Singing was always a natural expression for me. Since I can remember I have been enjoying singing, I have found it very satisfying and healing. I was very lucky to be born in a family that has a genuine love for music. My parents saw my talent in singing early enough and they encouraged me to start music when I was 5 years old. I studied the guitar at first and then the piano and I got the diplomas on harmony, counterpoint and fuge. When I was a teenager I realized that I was only playing the guitar to accompany my voice and that singing was my true passion. For a while I thought I would become a music composer, but opera singing won my heart.

Read the entire interview here, in the 2nd issue of OPERA Charm Magazine.

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