Born in Florești, Republic of Moldova, Lilia studied at the Academy of Music, Theatre and Fine Arts in Chișinău, in the class of prof. Mihail Muneanu. She was a soloist at the Theatre Opera and Ballet Theatre “Maria Bieșu” in Chișinau. Her professional experience is also based on participation in numerous competitions, after which she won important prizes: Second prize at the International Competition “Alexei Stârcea” (Chișinau, Republic of Moldova, 2016), finalist of the International Competition “Opera Crown” (Tbilisi, Georgia, 2018), finalist of the International Competition of Singing Competition “Eva Marton” (Budapest, Hungary, 2021), semi-finalist of the Operalia Competition (Moscow, Russia, 2021). Her repertoire includes: Lyubasha (Bride Tsar’s Maid), Olga (Yevgeny Onegin), Polina (The Queen of Spades), Fidalma (Il Matrimonio Segreto), Suzuki (Madama Butterflyby), Maddalena (Rigoletto), Fenena (Nabucco), Flora Bervoix (La Traviata), Lola (Cavalleria Rusticana), Nicklausse (Les Contes d’Hoffman), Orlovsky (Die Fledermaus), La Frugola (Il Tabaro), Cherubino (Le Nozze di Figaro).
Dear Lilia, thank your for accepting our invitation. It’s such a pleasure to chat with you. I am glad I had the opportunity to see you on stage as Maddalena in Rigoletto at the Romanian National Opera Iași, alongisde Ștefan Pop and Lucian Petrean, under the batton of M°David Crescenzi. Was it your first time in Iasi? What was your experience? How was the collaboration with the Romanian National Opera Iași?
Thank you very much for this opportunity. I have visited Iași before of course, but not as a guest soloist. My collaboration with the Romanian National Opera Iași came at the right time! It coincided with a decisive moment in my life, after I was fired from the Chișinău Opera. This collaboration left a deep impression on me, and I didn’t realize why. Probably that’s the source of the inspiration: beautiful people and beautiful deeds.
You are from Republica Moldova. How is opera perceived there? How is the audience in Romania compared to the one in Republica Moldova? Did you notice any differenece?
Yes, I noticed some differences between the Romanian and Moldavian audiences. Moldavians being a people “saturated” with art, they are satisfied with what they are offered. Forgive me if I’m talking to freely! In fact, this is the essence of us Moldavians. I love my home audience more than any other, but that doesn’t prevent me from making a transparent analysis. The Romanian spectator is more educated, selective and sometimes tough. That of course is a STRONG point for an artist’s motivation and progress.
Read the entire interview here, in the 5th/2022 issue of OPERA Charm Magazine.0