Soprano Aida Pascu, winner of the "Heirs of Musical Romania" Scholarship and winner of the "Young Artist of the Year" section at the International Classical Music Awards 2024 edition, was part of the cast of Gioachino Rossini's "Moses in Egypt", which premiered on Friday, October 18th, 2024, at the "Pavarotti-Freni" Theatre in Modena, Italy. Aida Pascu talked to our colleague Ioana Țintea about her debut on the Italian stage and other aspects of her artistic career.

Aida Pascu, on October 18th you made your debut as Elcia in Gioachino Rossini's "Moses in Egypt" at the Pavarotti-Freni Theatre in Modena, Italy. What is the story of this debut and how does it mark a new direction in your repertoire?

It is my first Rossini role. I hope not the last, because I have discovered this passion for the belcantist repertoire, which until now I didn't have the courage to tackle because it is, of course, quite complex. It has opened up new horizons for me, it has forced me, in the best sense of the word, to evolve. This debut was not my idea. There were even people from the Modenese theater who had heard me before and sensed that I might be suitable for the role of Elcia.

Vocally, what were the biggest challenges in approaching this role? How do you feel in Elcia's score?

Surprisingly, I feel very comfortable singing this role, but there are a number of challenges, and they're not so much vocal - sure, there's virtuosity, coloratura... I had a lot of movement to do. I sang more on my knees, more on the floor, in some positions that I've never been put in before.

How did you construct the role with director Pier Francesco Maestrini and conductor Giovanni Di Stefano?

Pier Francesco Maestrini was absolutely impressive with all the suggestions he gave us, all the ideas he came up with and then put them into the stage in an amazing way. The production is superb. And the work with Maestro Di Stefano was intense and very detailed on the recitatives, on the nuances... the dynamics are very rich in what he asked us. In short, it was intense, but very useful and it definitely helped me to grow as an artist and as a person.

Tell us about the direction! From what I've seen on the internet, the production is a classical one, but it also integrates an important technical component with video projections in the background. How do these visual elements influence the interpretation and atmosphere of the opera?

It's a very realistic atmosphere. We feel like we are right there in the moment. We have a veil; we don't see the audience as well as we would without that veil, of course, and in front of it there are projections, but that doesn't affect our performance, but rather, at least I feel, it gives us more intimacy, it puts us more in the scenography. The video and sound effects throughout the opera were very well thought out, very well rehearsed.

I was impressed and I am every time I sit on stage and sing and I think about the effect that all these elements have on the audience in real time and I really enjoy this scenography.

What can you tell us about collaborating with your stage partners?

The stage partners are all wonderful people. They are younger, but also opera legends. Michele Pertusi, the protagonist Moses, is truly an opera legend. They are all great people, we got on very well and I look forward to seeing them again for the next performances - in Piacenza and Reggio Emilia. I miss them already!

How are you looking forward to the shows on October 25th and 27th?

I'm looking forward to them to be even better than the first two shows, to feel even better, to be freer in our expression. We will give the audience an even better show each time. That's how it should be!

I'd also like to turn our attention to the two performances of Giacomo Puccini's "La Bohème" at the German Opera in Berlin on December 6th and 11th. How did this collaboration come about?

This collaboration came about following an audition I gave in Berlin, at the Deutsche Oper itself, which was originally for another production in which I will debut next year. It was a set of circumstances that led to this beautiful debut for which I'm excited and happy. But basically, all the debuts that we do are based on auditions and some people who felt that we deserved and could be cast in these roles.

You have played Mimi in the past. What attracts you most to this character?

Her apparent simplicity, I would say. Personally, I like to look for new nuances and give her contrast, because Mimi is often seen to be just a simple girl, in Act 1, in Act 2, rather passively played. I like to discover her active, and then in acts 3 and 4, the contrast is much more dramatic.

I love the music in La Bohème, I love the fact that this role is a "glove" for my voice and that I have an ease in interpreting it both vocally and as a character.