Köpeczi Alexander


April 14, 2020



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When did you decide to become an opera singer?

I first decided to become an opera singer while singing in the choir of Transylvania Philharmonic in Cluj, my hometown, listening to wonderful musicians and singers, and watching brilliant conductors performing and making music together.

You began your musical journey as a pianist… how it helped in your career as a singer and your experience as a musician?

It is paramount, in my view, for the development of an international opera singer to have a solid musical education. Being a pianist aided me in that way, providing all the theoretical and practical background of a classically trained musician.

Romania is a land of great voices. Who are your models from the past and today?

Indeed, Romania does have a lot of great voices, perhaps also because it is a land that houses multiple cultures and talents. I would say I am a person who has paid attention to a lot of singers and teachers and was able to “steal” and take from each of them things that work for me as a singer and as a person, thus being able to use these elements to find my path.

The bass voice is connected to Verdi, and one of your first roles was Sparafucile in Rigoletto: what do you think of the roles that Verdi created for the basses?

I feel that singing a Verdian bass role is quite challenging and rewarding at the same time, as he feels to be one of the composers who have demanded the most out of this voice type. Verdi’s arias are predominant in my repertoire because his roles are remarkable from a musical aesthetics standpoint, and my voice meets most of the requirements needed to perform such roles.

Do you think the “voce Verdiana” is a legend, or it exists, and what are its characteristics?

Yes, I do believe it exists. As far as a verdian bass is concerned, I think the composer had a unique approach to writing music, demanding many different elements from his singers – voice, timbre, register, legato, strength, intention, lyrics, etc. In Verdi’s composition, the mature bass voice shines in all its glory. And since the bass voice is a low register, thus low-frequency voice, everything slows down and is centred not around its virtuosity but its natural, bold character.

Last year you won a special prize for the Best performance in Verdi’s repertoire and the award of Internationale OpernWerkstatt at the Viñas Competition: what were the emotions for these two great achievements, and what do you think about singing competitions? Do you recommend young singers to do this experience?

All the emotions that a person experiences during a trial are a great challenge, not unlike Tamino in Die Zauberflöte. I am convinced that all of the 557 of us were doing our very best, still, these great contests are like a test to see who are those who manage to remain within the confines of art as such when faced with such a high-level jury and such immense pressure.
I wholeheartedly recommend young singers to participate in singing competitions because I believe nothing provides a great opportunity for growth and progress before, during and after a competition than attending such high-pressure and high-level events.

You recently sang the leading role of Le luthier de Crémone by Jenő Hubay: tell us something about this experience.

First of all, it was a great privilege for me to be able to sing during these challenging times after a four-month hiatus. The musical style of Hubay’s operatic world is quite eclectic, thus raising certain vocal challenges. One has to provide both the lyrical segments sung in a higher register and pay attention to the articulation of words during those musical fragments with a more dramatic accompaniment.

My next projects are: the title role of Don Pasquale in Cluj at the Hungarian State Opera in February of this year, Carmen‘s Zuniga at the Hungarian State Opera in Cluj in April, followed by the role of the Doctor in Pelléas and Mélisande at Budapest, in May; and Un carceriere in Puccini’s Tosca, at the Salzburger Festspiele, three Master-Classes with renowned singers and vocal coaches, as well as concerts within the Young Singers Project 2021.

Thank you very much, dear Alexander!


Anton Beliaev
As singers, we are required not only to show our voice at the audition, but also to experience the emotions and feelings of those whom we sing and convince the listeners of this.
August 2023
Alice Lechner
Liana Aleksanyan
With time you learn how to calculate your emotions and the voice, like where to give more and where to save yourself.
August 2023
Alice Lechner

Alice Lechner

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

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

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 Fieraru

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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