Ms. Iulia Isaev, you made your debut in the role of Mimi in Puccini's La Bohème on the stage of the Bucharest National Opera at the beginning of your career. Could you share with us the experience of that first performance and the impact it had on your artistic development?

I remember my debut in this role with great joy. I was at the beginning of my artistic career, and my natural enthusiasm was at its peak. However, Mimi was not the first major role I took on. I had already debuted in the roles of Pamina in Mozart's The Magic Flute and Micaëla in Bizet's Carmen, and I had also gained some experience abroad, in Vienna, where I debuted as Donna Anna in Mozart's Don Giovanni. So, I could say I had already built a certain stage experience.

Still, the Puccini experience was fascinating and entirely new for me. That's why my eagerness was unstoppable. I was stepping into verismo, I adored-and still adore-Puccini's music, and for me, Mimi was a dream: the opportunity to get close to the maestro's music and to interpret it. I had flirted with the role during my student years but had never had the chance to perform it. I hold dear the memory of the thorough preparation I went through with my teacher, Mrs. Arta Florescu, to whom I am infinitely grateful. Later, at the opera house, I fondly remember the beautiful period of stage work for this premiere-debut, when I worked with director Hero Lupescu. It was a beautiful production, and over time, I've added many more performances of this role in different stagings and in various places around the world.

How has your approach to this character evolved over time, and what does Mimi mean to you today? How do you see her now?

I've had the pleasure of performing this role in major theaters across Europe, and above all, the opportunity to enjoy classic productions, work with renowned conductors, and share the stage with equally accomplished partners. I'd like to mention a few productions that have marked my artistic journey: the old production at Opera Bastille under the baton of conductor Daniel Oren, the production at Teatro Regio in Turin conducted by Evelino Pidò, and, last but not least, a very dear production to me at the Zurich Opera, where I shared the stage with the renowned tenor Francisco Araiza in the role of Rodolfo.

Although I've performed this role during different stages of my career, every time I found Mimi just as I discovered her the first time. More precisely, just as the composer envisioned her through the music he dedicated to her-delicate, sensitive, fragile. From the moment she steps on stage, Mimi captivates through the naturalness and delicacy of her character. As a performer, you can't be any different. You mold yourself to the character and strive to bring out the full vocal color palette, believing that each moment can become unique, carrying your personal touch. You need authenticity if you want the audience to connect with your interpretation of the character. Of course, depending on the staging and your stage partners, you can change certain nuances and emotions, but the essence of the character remains the same.

Yes, I return to Mimi each time with the same joy and fervor.

On March 20th in Bucharest, among your stage partners are tenor Alin Stoica as Rodolfo and Claudia Azevedo as Musetta. How do you perceive the artistic chemistry between you and these colleagues on stage now?

I believe that each of us, regardless of circumstances, can and knows how to manage this. Artistic chemistry is born and, certainly, contributes to the dynamics of the performance from the moment we step into character on stage.

I also believe that we, the performers, fully aware of the complex art we're engaged in, all desire the same thing-to perform at the highest level. That's why the interpretative side is equally important. And I'm convinced that each of us strives to be a true part of the story. After all, our mission is to find the key to the audience's heart and to fulfill their expectations.