Maria Mudryak: Today we live in the age of the Internet and I love the opportunity to be in contact with my fans because they give me strength to continue.

In just a few years young soprano Maria Mudryak (born in 1994 in Kazakhstan ) has become one of the most sought after lyric coloraturas of her generation, having already celebrated successes in roles such as Violetta in La Traviata, Mimì in La Bohème, Marguerite in Faust and Liù in Turandot at some of the most prestigious international opera stages. Maria’s recent season include her debuts at the Deutsche Oper Berlin in the Grand Opera Gala in support of the German AIDS Foundation and at the Musikverein Graz in a concert alongside Piotr Beczala, a concert with Vittorio Grigolo at the Royal Opera House of Muscat, Mimì in La Bohème at the Bolshoi Theatre of Moscow, Violetta in La Traviata at the NCPA Beijing, the Royal Opera House Muscat conducted by Plácido Domingo and the Al Bustan Festival, Adina in L’Elisir d’amore at the Opéra Grand in Avignon, Beethoven’s Symphony No.9 conducted by Riccardo Muti, Violetta in La Traviata in Greek National Opera at the Teatro San Carlo of Naples and her role debut and Australian debut as Marguerite in Faust at the Melbourne Arts Center. Among her recent performances are Mimì in La Bohème in a new production at the Maggio Musicale Fiorentino, where she also sang Violetta in La Traviata; her role debut as Liù in Turandot at the Shaanxi Grand Theatre in China and as Gilda in Rigoletto at the Teatro Carlo Felice di Genova alongside Leo Nucci; Violetta in a new production of La Traviata at the Teatro San Carlo di Napoli and at the Teatro Carlo Felice di Genova; Mimi in a new staging of La Bohème for her debut at the Bolshoi Theatre , Violetta Valéry at Arena di Verona in Verdi Opera Night. Maria Mudryak was a winner of the 65th Aslico Competition for European Young Singers and the and of Plácido Domingo’s prestigious Operalia Competition in 2017 and won the Audience Price. Mudryak has collaborated with conductors such as Daniel Oren, Carlo Rizzi ,Riccardo Muti,Renato Palumbo, Alvise Casellati, Massimo Zanetti ,Andrea Battistoni and Plácido Domingo , and stage directors including Leo Nucci, Hugo De Ana, Ferzan Ozpetek, Chiara Muti , Marta Domingo and Andrea Cigni.

Hi, Maria! It’s always a pleasure to talk to you and it’s hard not to smile at the coincidence between your name and that of the divine Callas: you are an emerging star of the opera of our times, you already won AsliCo competition in 2014, Operalia in 2017 and trod the main stages in the world, including Teatro alla Scala… is there a precise moment when you understood that this was your “dream-job” and how much did it influence you to move to Italy? Has Italian culture changed the way you approach classical music?

Dear Viviana, thank you for your words. I always say that I was born a singer, I did my first concert when I was only three, so being on stage and singing is like breathing for me.
At the age of nine I moved to Italy specifically to study opera singing, because Italy is the home of opera. Here in Italy, studying with my Maestros, I discovered for myself all the beauty and depth of art and opera. Obviously Italy itself is already a work of art for many things: just think of the culture it represents, its architecture, music, fashion, food, nature and the people who populate this beautiful country … everything affected me, who, like a sponge, absorbed all this beauty: that’s why I feel almost half Italian. Italy has become my homeland!

Beyond a breathtaking physicality and a charisma on stage that captivates from the first note, your voice allows you to interpret fascinating and also very complex female roles, but you always manage to play each character in a very natural and light way, without forced stage expedients. What is your acting preparation before diving into an opera character? To which Master or experience do you owe the best advice you put into action?

I think that, in addition to the voice, God has given me another gift, which is artistic talent. I live every role I play, and this comes very naturally to me. Obviously before preparing a character I try to know as much as possible about her: I try to understand her through literature, or I immerse myself in many films that recreate that era, otherwise I look at what it’s written about that character and how the greatest singers interpreted her… all this helps me to create my own character, which I then define together with the director and conductor.

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

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