Mezzo-soprano Ruxandra Donose and tenor Ramon Vargas are the guests of the Bucharest Opera for two performances of Georges Bizet's opera "Carmen," scheduled for March 1^st and 3^rd. Mezzo-soprano Ruxandra Donose discusses her presence on the Bucharest lyrical stage in an interview given to our colleague, Ioana Țintea.

Mrs. Ruxandra Donose, I would kindly ask you to begin by telling us in what context the collaboration with tenor Ramon Vargas for the two performances of Georges Bizet's opera "Carmen" at the National Opera in Bucharest came about.

I had the joy of collaborating with my colleague Ramon Vargas several times. The first time was at the Metropolitan Opera, I believe it was in 2003 or 2004, in "The Tales of Hoffmann." Later, we repeated our collaboration in "The Tales of Hoffmann" at the Vienna State Opera. We also sang Mahler's "Das Lied von der Erde" together in Mexico City. So, over the years, we have encountered each other on stage multiple times.

And, from the perspective of these previous collaborations with tenor Ramon Vargas, how would you describe the Mexican musician?

He is, not without reason, one of the most esteemed tenors in the world, with a fabulous career. I say "not without reason" because, to me, he seems to be one of the most intelligent opera singers, with an extraordinarily beautiful, flowing, warm, and sweet voice, coupled with impeccable technique. This has allowed him throughout his career to take on roles ranging from Mozart, through Donizetti and Bellini, to Verdi, and now, Don Jose. It's worth mentioning that, for him, Don Jose is a role that was added relatively late in his career; in fact, he performed a semi-concert version in Austria just last year. And the performance at the National Opera in Bucharest will actually mark his stage debut in this role.

Carmen is a role you have perfromed many times. It is perhaps the most renowned mezzo-soprano role. Do you feel that your interpretation changes each time you approach it?

Certainly, it changes... depending on the staging, directorial concept, and so on. However, fundamentally, when I approach a role, I gather information, read about the character. In the case of the role of Carmen, it is based, as we know, on Prosper Merimee's novella. So, I have read the novella. Then, I noticed the subtle differences between the novella and the opera. What I mean is that by the time I come to sing a role, I already have a clear idea of how this character should be. Of course, my opinion is subjective, but it's based on objective information. It's that kind of character that I can approach as myself, Roxandra Donose, as a person and an artist; a character I can understand and embody on stage.

How is the collaboration with the artistic departments of the Bucharest Opera and conductor Tiberiu Soare going?

It's going very well. I have already collaborated with Tiberiu Soare many times; we have even recorded a CD together with famous opera arias alongside the Radio Orchestra. So, we know each other well, and we collaborate almost telepathically, I would say. There is no need for many discussions. We understand each other musically very well. As for the rest of the performance, both my colleagues and, of course, the direction department, the costumes... some amazing ladies handling the costumes, makeup, wigs.

It's a joy every time I have the opportunity to collaborate with the National Opera in Bucharest.

What elements contribute to shaping a successful production?

There are many, but I could conclude with a single word, and that is "quality." It needs to be a superior quality in both the musical and stage performance, seriousness, and respect for opera as it is staged by the director, set designer, and so on.

Increasingly, there is a need for a certain freshness. That is, there is much debate about more modern opera productions. I believe they are necessary because opera, like any form of art, needs to be brought into our century and, like any art form, to be recreated again and again.

What do you feel in regards to the Bucharest's stage? What does the Romanian National Opera, Bucharest mean to you, considering that you have been pursuing a brilliant international career on the most prestigious stages in the world for over 30 years?

It is the opera where, when I was a student, I would come almost every evening, somewhere in the balcony, eagerly watching the performances and learning, "stealing" the craft from our great Romanian singers. It is also the stage where - back when I was a student - I did some extras work. I entered, here, through the opera's backstage, through costumes, and through sets, initially as a small observer. An amusing story is that, at one point, I was an extra in the opera Aida, and I was one of the slaves of Princess Amneris, waving a palm leaf and, of course, dreaming that one day I would sing Amneris on the stage of the Bucharest Opera. And this happened, after many years.

It is also the opera where, over these more than 30 years, I haven't managed to visit very often for various reasons. And now, yes, I feel it as I've returned home.

Finally, I would like you to extend an invitation to the audience in Bucharest.

There will be some exceptional performances, I believe. We have four guests in this production, and each one is a guarantee of quality. They are extraordinary colleagues, and "Carmen" is one of the most beloved and famous operas in the entire universal repertoire.

So, without a doubt, I believe these will be two exceptional performances.

On March 1st, we commemorate our great mezzo-soprano Elena Cernei - born exactly 100 years ago on March 1^st. And on March 3^rd, it is, in fact, the anniversary of the world premiere of the opera "Carmen" at the Opéra-Comique in Paris.

We hope to have, both on stage and in the audience, joy, enthusiasm, and high emotions.