The renowned mezzo-soprano Roxana Constantinescu performs as a soloist in Wagner's Wesendonck Lieder on Friday, March 14th, 2025. The concert program at the Radio Hall also includes two works by composer Anton Bruckner: Overture in G minor and Symphony No. 3 in D minor. Conducting the National Radio Orchestra will be Gabriel Bebeșelea.

You will perform on Radio Hall stage a series of five songs composed by Richard Wagner in 1857-1858, Wesendonck Lieder. This time only, the muse of the composer was poet Mathilde Wesendonck, who also wrote the lyrics for these lieder. What are your thoughts on this piece?

It is the first time when I approach this cycle of five lieder. I had the chance to perform only The Ring of the Nibelung tetralogy by Richard Wagner. Therefore, this particularly intimate and special music found throughout the group of five lieder is something entirely different. Let us not forget that these lieder are nevertheless considered a precursor to the opera Tristan und Isolde, as Wagner experimented here with musical ideas that he later developed further in the opera.

But, returning to the relationship between MathildeWesendonck and Richard Wagner, it was an exceptionally complex relationship, both intellectually and artistically, but it was also a romantic one. Thus, this forbidden love is reflected in the music of Wesendonck Lieder. Later, in Tristan und Isolde, the theme of forbidden love is also addressed. What I find equally interesting and, in a way, vulnerable, is Wagner's statement about Wesendonck Lieder, in which he said, 'In this music, I have written the most beautiful music!' And it is about wonderful, delicate, somewhat spiritual colors. There is intimacy, complicity... all the lyrics urge towards vulnerability, towards sincerity, while also returning to the real-life love triangle that at one point existed between Richard Wagner, MathildeWesendonck, and his wife at the time.

From my point of view, it will be an extremely sincere performance because all the details are described in the score. In fact, I believe this should be a general rule for the performer when approaching a composer's music. His intentions are so clear, and the lyrics are absolutely amazing! I love performing in German language, especially when it is lieder repertoire, when you can play with some consonants, and with detailed phrasing in long phrases.

Yes, for me, it is as much a challenge as it is a joy to debut in these lieder on March 14th, here, at Radio.

How do you see the collaboration with Maestro Gabriel Bebeșelea?

This is not my first collaboration with Maestro Bebeșelea, but considering my Wesendonck Lieder debut, I am glad to be under his baton. He is a very attentive musician, especially when it comes to the voice, the music, the style, and everything that involves finesse, breathing techniques, and, in fact, the entire score. I admire and appreciate Maestro Bebeșelea not only as a musician and artist but also as a human being, because every time he deepens a work in an extremely convincing manner, and every suggested program has a well-justified sense, our concert, for example.

I am extremely excited and I know that I am in the best hands, which is extremely important when it comes to a debut and such exposure, because, as I mentioned, these are lieder of great sensitivity and finesse. And the fact that he is proposing Bruckner's Symphony No. 3, which was called the Wagner Symphony... everything revolves around this great figure, Richard Wagner. I found it extraordinary that Bruckner dedicated this symphony to Wagner. In fact, he gave Wagner the choice between Symphony No. 2 and No. 3 and dedicated this one to him. So, it's a very intense and very well-constructed program for Friday evening.

You are having an impressive career on the great stages of the world. How do you feel coming back in your country?

As much as it is very close to my heart, it is also, somehow, emotional and with nerves, with a certain nervousness every time I return to my country. Because, after all, there are so many people with whom I grew up since I was a child, which means we have followed each other's life journey. I grew up in the Radio Hall, in the Radio House; at 6 years old, I joined the Romanian Radio Children's Choir. I know every corner, every studio. Then, at the 'George Enescu' High School, I was a percussionist. So, I grew up with many of my colleagues who are now part of the National Radio Orchestra. I see them again during rehearsals and the concert on Friday... it's a beautiful long-time friendship, and I hope, for a long time to come. Returning to Romania - Bucharest, Cluj, Timișoara, but especially Bucharest, where I was born - is always unique, from the heart.

What are some of the events booked in your agenda for the next few months?

I will already inform classical music lovers that the last CD, which I had the joy of participating in, will be released these days. It is about a concert recording of Stabat Mater by Dvorak. It was alongside the Dresden Philharmonic, the MDR Choir from Leipzig, and conducted by the fabulous Maestro Marek Janowski. This CD is produced by Pentatone, and, as I mentioned, it can already be listened to on online platforms and will soon be available in stores, with the official launch.

Then, in April I will return to George Enescu Philharmonic with Mahler's Symphony No. 2. Then, a festival, again Wagner, but this time The Flying Dutchman throughout the summer, a festival in St. Margarethen. After that, a new production of Norma by Bellini at the Zagreb Opera; it will be conducted by Maestro Pier Giorgio Morandi, with whom I recently recorded Norma, again with the Pentatone label, San Francisco Classical Recording Company. We're talking about the next few months, but very beautiful projects.