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INTRODUCTION
We are so happy that the pandemic didn’t stop our dear artists from evolving and remaining confident. They proved nothing could stop them if they are passionate about their careers. One of these examples is our dear Romanian baritone Bogdan Baciu. In 2019/2020, he was supposed to debut at the Royal Opera House with Silvio from I Pagliacci, but as you already know, the pandemic cancelled all the performances that were supposed to take place. The result? Bogdan Baciu returned stronger and more prepared this year with another remarkable role: Marcello in La Bohème. He talks with Alice Lechner about his transition from Romania to Germany, which are the differences between the two systems, and the reasons why he decided to move from his hometown. What are his plans in terms of repertoire? How would he describe his voice? And a topic that intrigued us: why doesn’t he have an Instagram account? You will read about his passions, future performances, and other interesting facts about him in this interview! Charming reading!
BIOGRAPHY
The Romanian baritone Bogdan Baciu studied with Marius Vlad Budoiu at the “Gheorghe Dima” Music Academy in Cluj-Napoca. He won numerous prizes in national and international competitions, including the 3rd prize in 2008 at the Romanian National Lied Competition and in 2010 the 3rd prize at the prestigious “Hariclea Darclée” International Singing Competition. During his university studies and in the Düsseldorf opera studio, he attended master classes with Mariana Nicolesco, Deborah Polaski, David Cyrus, and Thomas Allen. He collaborated with some of the world’s greatest conductors, including Valery Gergiev, Riccardo Frizza, Stefan Soltesz, Axel Kober, Antonino Fogliani, David Crescenzi, Donald Runnicles, Omer Meir Wellber, Kent Nagano, Asher Fisch, John Fiore and others. His repertoire includes roles such as Papageno (Die Zauberflöte), Don Giovanni, Figaro (Il Barbiere di Siviglia), Dottore Malatesta (Don Pasquale), Marcello (La Bohème), Silvio (I Pagliacci), Escamillo (Carmen), Ping (Turandot), Enrico (Lucia di Lammermoor), Harlequin (Ariadne auf Naxos) or Heerrufer (Löhengrin). The 2021-2022 season finds him singing Escamillo (Carmen) at Teatro Massimo Palermo, Marcello (La Boheme) at Semperoper Dresden, Der Geisterbote (Die Frau ohne Schatten) at Bayerische Staatsoper Münich as well as his debut as Germont (La Traviata) in Düsseldorf and at the Deutsche Oper Berlin. In November 2022, he made his long-awaited debut at the Royal Opera House London as Marcello in La Bohème by Giacomo Puccini.
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INTERVIEW
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Alice Lechner comes from a music-loving family. Her first encounter with the opera universe was at the tender age of six. The grandeur of the stage productions and costumes, the backstage chatter, and last, but definitely not least, the music left her in awe, beginning with Mozart’s Don Giovanni. The overall feeling that opera awakens in anyone who gets a glimpse into this part of artistic eternity, that each and every day passes the test of time, was what drew her to stay and be a part of this world. The Opera House of Brașov became her second home, and the people who worked there were her second family.
Since then, Alice has devoted her spare time to maximising her musical knowledge through instrumental studies, studying both piano and violin for a short time. In the following years, her number one passion stepped out of the limelight and graciously gave way to Law Studies.
Since 2018 she has been studying Law at “Alexandru Ioan Cuza” University in Iași.
Her passion for opera, even if it is no longer her top professional priority in terms of career, it has most definitely become her priority during her free time. Wanting to experience the best of both worlds and extend her musical horizons, she regularly attends opera performances throughout Romania and abroad.
With OPERA Charm Magazine, Alice aims to nurture her creative side to help it flourish and bloom and to discover, alongside the magazine’s readers, the fascinatingly complex world of opera.
Currently, she is an LL.M. in Business Law at “Alexandru Ioan Cuza” University in Iași.
Oana Zamfir is a second year MA student at the “George Enescu” National University of Arts, at the Department of Musicology.
She studied violin for 12 years at the “Stefan Luchian” High School of Art in Botosani, later focusing on the theoretical aspects of music. In 2019 she completed her bachelor studies in Musicology as a student of the National Academy of Music “Gheorghe Dima” in Cluj-Napoca. Her research during 2018-2019 brought to the forefront elements of the archaic ritual within works of composers who activated during the communist period, giving her the opportunity to start a research internship at the “Carl von Ossietzky” University in Germany. In this context, she recorded conversations with members of the Sophie Drinker Institute in Bremen, and had access to documents directly from the Myriam Marbé archive.
Since 2019 she has been a teacher of Music Education and Theoretical Music Studies, making full use of interactive methods in the musical training of students and working, at the same time, with the children’s choir founded in the first year of her activity.
Her interests include pursuing a degree in interior design in 2020.
Alexandru Suciu inherited his passion for art growing up in a family of several generations of musicians. He began his musical studies at the “Augustin Bena” School of Music in Cluj, where he studied piano and guitar. Even though his main study direction was philological, his passion for music prevailed. He began his academical journey at the Faculty of Letters of the “Babeș-Bolyai” University, studying Comparative literature and English. He continued by studying Opera Singing at the “Gheorghe Dima” National Music Academy. He also graduated the Musical Education section, followed by Artistic Directing at the Musical Performing Arts department.
His multidisciplinary education opened the doors towards research, which is seen both through his participation in national and international conferences and symposia, such as the Salzburg Easter School PhD-forum, organized by the Salzburg Universität or the Silesian Meeting of Young Scholars, organized by the Institute of English at the University of Silesia, as well as the collaboration with Opera Charm Magazine.
During his student years, he won several prizes, including the Grand Prize at the “Paul Constantinescu” National Musical Interpretation Competition, the Romanian Composers and Musicologists’ Union Prize at the same competition, the First Prize and the Schubert Prize at the “Ada Ulubeanu” Competition.
He further developed his artistic skills by specializing in courses and masterclasses held by personalities such as Vittorio Terranova, Giuseppe Sabbatini, Marian Pop, Ines Salazar, Riccardo Zanellato, Paolo Bosisio, Valentina Farcaș and Manuel Lange in contexts such as the Internationale Sommerakademie für Operngesang Deutschlandsberg, Corso Internazionale di Canto Lirico I.M.C. Licata or the Europäische Akademie für Musik und darstellende Kunst Montepulciano. Besides his activity on-stage, he currently teaches Opera Singing Didactics, and Pedagogical Practice within the Department for Teacher Education and Training at the “Gheorghe Dima” National Music Academy.
Cristina is a 24 year-old Romanian soprano & a student at the National University of Music Bucharest, where she pursues the MA program in Vocal Performance.
She made her debut in Pamina from “Die Zauberflöte” by Wolfgang Amadeus Mozart at only 19 years old at the Bucharest National Opera House, as a member of the Ludovic Spiess Experimental Opera Studio. Over the years she made her debut in roles such as Contessa d’Almaviva (Le nozze di Figaro), Mimì & Musetta (La Bohème), Alice Ford (Falstaff), Erste Dame (Die Zauberflöte) in her university’s opera productions.
Her passion and experience extends in the field of choral music, too.
She has been part of our dream team since the fall of 2021. For a good period of time she took care of OPERA Charm’s social media and took you on the monthly journey through the history of opera through our Legends rubric – and a few times through the Theaters around the World rubric.
Her little soul rubric – from 2021 to present – is definitely the Conductors of the Future, where, every month, she gives you the chance to meet a young star of the world of conducting and, of course, to find out what’s the most charming feature of opera in these artists’ views.
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