While being still very young, Serena Sáenz is already a frequent guest of some of the most renowned opera houses in the world: in the 21/22 seasons the Catalan soprano returns to the Staatsoper Berlin with several important role debuts: as Nannetta in Falstaff, Zerbinetta in Ariadne auf Naxos and Zerlina in a new production of Don Giovanni (directed by Vincent Huguet and conducted by Daniel Barenboim). Other significant role debuts include Queen of the Night in Die Zauberflöte at Opera de Oviedo, Clorinda (La Cenerentola) at Opéra Orchestre National Montpellier, and Norina (Don Pasquale) at Fundació Opera de Catalunya. Serena made a remarkable house debut at Liceu Opera Barcelona in the title role of Lucia di Lammermoor, where she returns later as Prilepa in The Queen of Spades and Pamina in Die Zauberflöte with Gustavo Dudamel.
In 2019, as a member of the Internationales Opernstudio Staatsoper Berlin, Serena appeared as Pamina in the premiere Yuval Sharon’s production of Die Zauberflöte, conducted by Alondra de la Parra.
Dear Serena! First of all, thank you for accepting my invitation! How are you? Where do my questions find you at this exact moment?
Hi Bianca thank you so much for inviting me to do this interview. right now you find me enjoying a couple of days of vacation in my homeland.
And of course, congratulations for being one of the participants of the next edition of Operalia International Singing Contest! How do you feel about this? I was personally so proud to see you on that list, since you’re one of my favorite sopranos of your generation!
I have always looked up to singers who have achieved some awards in Operalia, this competition is such a reference for everyone in the opera world specially for young singers and this year my turn has come! I feel very excited about it and extremely honored to have been selected as one of the finalists that get to travel to Riga.
What are your expectations from such a big competition? Do you remember the moment you decided to participate?
To have expectations it’s not really a healthy thought when going into a competition. All of the singers who will be there deserve to be there, they have amazing talent, different voice types, a wide range of repertoire, and everyone’s competing under the same perspective, so it’s very hard to choose one… I think I could not be a jury member, it’s too much pressure that I would get anxious. If it would be for me, competitions should be turned into an audition for multiple theaters at the same time, like these all the pressure of winning or losing a prize would be gone and we could sing at ease. Even though no one likes getting in the spotlight for being judged…. as a young singer to participate in a big competition is part of the path to walk if we want to get in the industry and I had the idea in the back of my mind for quite some time already.
Read the entire interview here, in the 5th/2022 issue of OPERA Charm Magazine.0