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INTRODUCTION
Kathryn Lewek is one of the greatest Queens of the Night of our times but shines just as bright in roles rush as Lucia di Lammermoor, and she will be back at the MET with her signature role! But first, just a small talk with Maria-Isabela Nica for OPERA Charm Magazine. Is there something Kathryn still doesn’t know about the Queen of the Night? Was it a dream role ever since she started singing? Find out the answer to the questions & more about the secret of perfect firework coloratura!
BIOGRAPHY
Kathryn Lewek has established herself as one of opera’s most thrilling coloratura sopranos of this generation, performing some of the most vocally challenging roles in the repertoire, joining the top-ranking operatic performers of all time. Lewek made an “especially brilliant” (Backtrack) début as Ginevra in Ariodante with the Salzburger Pfingstfestspiele in Austria, opposite Cecilia Bartoli, where Lewek “performed a miracle” (Neue Zürcher Zeitung) and thrilled audiences with “a rich (and richly differentiated) soprano voice that has not been experienced for a long time.” (Salzburger Nachrichten).
She returned in the summer of 2019 in Barrie Kosky’s new production of Orphée aux Enfers, “ravishingly” (Bachtrack) singing “the raunchy, full-throttle” (Financial Times) role of Eurydice, wowing critics and audiences alike for her versatility as a performer and prompting Opera Wire to exclaim her Artist of the Week – not to mention a five-page spread in Salzburg’s official festival magazine.
Lewek’s interpretation of her signature role, the quintessential Mozart villain, has labeled her the current reigning Queen of the Night of the world, with productions of Die Zauberflöte with over 25 companies in over 300 performances to date, including The Metropolitan Opera, Bayerische Staatsoper Munich, The Deutsche Oper Berlin, Bregenzer Festspiele, Houston Grand Opera, Lyric Opera of Chicago, Washington National Opera, Palm Beach Opera, Wiener Straatsoper, Teatro Real in Madrid, Festival d’Aix-en-Provence, Festival Castell de Peralada, Opera Leipzig, The Royal Danish Opera, amongst others.
With an impressive history of leading female roles in her career, recent seasons’ engagements have also included Teresa in Benvenuto Cellini with Gran Teatre del Liceu in Barcelona; Konstanze in Die Entführung aus dem Serail with Deutsche Oper Berlin and subsequently in her house début with the Bayerische Staatsoper (Munich); a reprisal of her performance as Ginevra in Ariodante with Opera Monte Carlo; the title role of Maria Stuarda with Edmonton Opera; Angelica in Handel’s masterpiece Orlando on tour throughout Europe; and Jessica in the world première of André Tchaikowsky’s Kupiec Wenecki (The Merchant of Venice) with Bregenzer Festspiele. This production was awarded the International Opera Award 2014 in the category “Best World Première''.
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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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