Valentina Nafornita: Being a diva… it is not working nowadays!

We are honored to have the Moldavian soprano Valentina Nafornita as one of the protagonists of the interviews of the 8th issue of our Magazine – such beauty & charm!

Valentina is one of the most in demand sopranos of her generation, starting her career as a young member of the Wiener Staatsoper, where she made several notable role debuts: Papagena in Mozart’s Die Zauberflöte marked her first of many performances which came to include Musetta (“La bohème”), Susanna (“Le nozze di Figaro”), Pamina (“Die Zauberflöte”), Norina (“Don Pasquale”), Zerlina (“Don Giovanni”), Adina (“L’elisir d’amore”), Najade (“Ariadne auf Naxos”), Clorinda (“La Cenerentola”), Oscar (“Un ballo in maschera”) and Ilia (“Idomeneo”). In the summer of 2014, she made the first of many important international debuts at the Salzburger Festspiele as Zerlina (“Don Giovanni”), where she was hailed as the “highlight” (Bachtrack) of the performance. Shortly after, she made her debut in France at the Théâtre Champs-Elysées, followed by debuts at Opéra national de Paris, Opéra de Lausanne, and Staatsoper Hamburg. She began her 2020/21 season as Euridice in Gluck’s Orfeo ed Euridice at Staatsoper Berlin.

Valentina should have returned on the stage of the Opéra National de Paris as Micaëla in “Carmen”, a production that unfortunately was cancelled yesterday, during the rehearsals, because of the new state restrictions regarding the COVID-19 pandemic. We send our best thoughts to all the artists that vere involved in this production, Varduhi Abrahamyan, Charles Castronovo, Valentina Vafornița & Lucas Meachem, and we hope to see them all soon, on stage!
Meanwhile, we are looking forward to giving you the possibility of reading Valentina’s inspiring thoughts!

Valentina, I am glad to have you as the protagonist of one of our December interviews and I want to thank you again for accepting my invitation!
Thank you very much! I am happy to talk with you.

First of all, I want to express my regret for your production of Carmen in Paris, which was recently cancelled due to the new French restrictions on the COVID-19. Considering the very difficult situation that France has been going through because of this tremendous virus, this would have been one of first productions after the reopening of the theaters there, am I right? What was the atmosphere of the rehearsals?

I appreciate your support. Yes, indeed this would have been the first production, they would have opened the season with Carmen . The atmosphere of the rehearsals was like never before . I don’t know if I am the only one saying this and feeling this, but actually I heard my colleagues saying the same. We were so happy to be back in the rehearsal room. I think we were more grateful and thankful than ever. We miss it a lot and we didn’t take it for granted.  

We are also talking about a role that could be considered one of the most representatives of your career and about a theater that had many times the chance to host you. What’s your story with Micaela, but also with the Opera House in Paris, a place where you many important events of your career took place?

Well , I didn’t have a real story with Micaela until now. Now, Micaela would be one of my beloved roles that I didn’t get the chance to sing yet, but I am so happy to work on it. It brought me lots of satisfaction. I have never had the physical time, the energy to prepare a role before like I did this time. This role suits me perfectly, at least I feel it so comfortable and especially in this staging of Calixto Beito. Here, Micaela is a very strong woman and goes really far fighting for her loved one. Paris, as Vienna, will always be a place that gave me some incredible experiences, the most amazing ones actually. I have made here some really good friends, I have here my audience that supports me and is waiting for me to come back. I am sad that we could not see each other this time…

Read the entire interview here, in the 8th issue of OPERA Charm Magazine.


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