How would you describe the unique qualities of your voice, and how have they evolved over your career?
The voice is a genetic characteristic. Since I loved singing from an early age, I joined a children’s choir (Panagouda). There, the conductor, Mavroudis, called me over and told me that I had a distinctive voice and should develop it further. Later, other teachers also told me that my voice had many harmonic overtones, a sweet and round tone, and an exceptional ability to sing pianissimo (very softly).
I therefore studied music and vocal technique at conservatories, developing my knowledge and refining my technique. These studies positively shaped my career in Greece and abroad, where I have performed primarily classical music, opera, operetta and other works in the lyrical repertoire. At the same time, I studied theatre and acting at the Tempo Theatre in Lucca, Italy
Which role or opera has been the most personally significant for you, and why?
So far, I have performed 27 different roles. It is difficult for me to single out just one, because every role presents a different challenge. Whenever I perform a role, I put myself in the place of the character I am portraying. I have loved all my roles, each one in its own way.
If I had to identify the roles that left the deepest impression on me, I would mention Violetta Valéry in Giuseppe Verdi’s La Traviata, because of its emotional intensity and the beautiful Helen in Jacques Offenbach’s La Belle Hélène, because of the demands it places on the performer.
Can you share some memorable experiences from your collaborations with conductors or fellow artists?
I have worked with many conductors and directors in Greece and abroad and I have experienced many memorable moments, both pleasant and challenging.
My collaborations with fellow artists have generally been characterised by mutual respect and appreciation. However, I would like to share one particularly unusual and rather comical experience.
During a concert in Voghera, Italy, I happened to work with a Russian orchestra whose conductor was also Russian. Unfortunately, none of them spoke Italian or English, which made communication difficult. There were three singers in the concert: two sopranos and a tenor. I was performing Lakmé, while the other soprano was singing Tosca. Unfortunately, we had only one rehearsal, just an hour before the performance.
As soon as the concert began and I came onstage to sing Lakmé, the conductor started directing the orchestra as though we were performing the aria from Tosca!
Rather than losing my composure, I immediately stopped the orchestra and launched into a brief theatrical improvisation, even involving the audience. I then turned to the conductor and explained that I was singing Lakmé, not Tosca. The conductor was completely taken aback, the audience burst into laughter, and, fortunately, we eventually managed to find our rhythm.
How do you prepare vocally and emotionally for a new role?
The voice and the ability to perform well in singing depend on the physical condition of the vocal cords and lungs. To remain ready to perform, we must avoid singing for too many consecutive hours and allow periods of vocal rest so that the entire anatomical system involved in voice production can recover. Physical exercise at the gym is also essential for maintaining good overall fitness.
As for the psychological preparation required to interpret a new role, I believe you must first assess whether the role falls within your vocal capabilities. You must then immerse yourself in the character you are portraying, follow the director’s instructions and approach the work with dedication, careful study and a thorough understanding of the entire production.
Essentially, a singer’s life is like that of a professional athlete: it requires discipline, preparation and constant training.
What challenges have you faced as a soprano and how have you overcome them?
The challenges that can cause discomfort include the behaviour of certain people involved in a production, as well as technical issues such as lighting problems, a lack of synchronisation between the orchestra and conductor, or an orchestra playing at an excessively high volume. Another difficulty arises when a fellow performer does not know their text well and forgets sections of it.
You can continue performing calmly and without losing your composure if you know the entire work by heart, although this is certainly not an easy task.
Other technical problems can usually be resolved by the technical team. However, in the rare event that part of the stage scenery collapses, if you are lucky enough not to be crushed by it, you can simply go and light a candle at the nearest church!
Are there any composers or pieces you dream of performing that you haven’t had the chance to yet?
If you are a professional and a dedicated artist, you are always striving to reach a higher level of artistic excellence and to perform the roles you dream of in a renowned theatre. For some, this represents recognition from audiences who love classical vocal music; for others, it means earning better remuneration.
My dream is to perform works by Rachmaninoff, Debussy and Poulenc, as well as the role of Silva in Emmerich Kálmán’s operetta The Csárdás Princess.
How do you balance maintaining vocal health with the demands of a busy performance schedule?
There are techniques taught at music schools and conservatories that enable singers to train their voices through exercises, rehearsals, and singing under specific conditions. This kind of training requires good physical fitness.
Singers must also take particular care to avoid viral and bacterial infections, especially during the winter months. This is not entirely within the artists’ control, as it depends not only on their own habits and working conditions but also on environmental factors.
Have you explored, or are you interested in, crossing into other musical genres or contemporary works?
This is a very interesting question because I believe many singers explore different types of music to expand their repertoire and, in certain circumstances, work in parallel musical settings to earn a decent living.
Some singers perform a wide variety of musical styles, including songs from different regions and traditions, such as Neapolitan songs, music from Mediterranean countries, Sephardic music, Portuguese fado, ethnic music, epic music, dark music, gothic music, Gregorian chant and many others.
What upcoming projects or performances are you most excited about?
At the moment, I am experimenting with various musical genres to strengthen my interpretative abilities. These include jazz, mystical Celtic music, ritualistic Dionysian music, Nordic music and other styles.
In the summer of 2026, I am scheduled to perform Mimì in Giacomo Puccini’s opera La Bohème in Italy.
How do you see your career evolving in the next five to ten years, and what goals are you setting for yourself?
This question is directly connected to the opportunities available to me to continue singing properly and with dignity until I reach a certain age.
For now, however, I am very optimistic because singing and theatre make me happy, as do painting, poetry, and prose writing, all of which I pursue alongside my musical career.
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