Interviewing soprano Dominika Zamara

1. When did you first discover that singing was your true passion, and what inspired you to pursue a career as a soprano?

In this aspect I was precocious; it was my grandfather, who was an organist, who noticed this gift of mine. He was my first teacher. I used to sing in church and realized that what I was doing evoked emotions in the audience; it was then that I decided to dedicate my life to music. My grandfather was my first source of inspiration. 

2. Do you remember the first time you performed in front of an audience? What emotions did you experience?

It was a mix of conflicting emotions: doubts, curiosity, insecurity, and fear. To some extent, this still happens today. If I didn't feel these emotions, I wouldn't be able to convey anything to the audience. But then you step onto the stage, and everything calms down. Stepping onto the stage is like passing into another dimension, onto a metaphysical plane where reality is different, shaped by us as artists. The audience is right there in front of us to experience an emotion, to escape from daily life, and to enter a dream. 

3. The voice of a soprano can be incredibly powerful and expressive. How would you describe your own vocal style?

My voice has been described as versatile by many great Maestros with whom I have had the honor of working. I have a very broad repertoire, spanning from Baroque to contemporary music. I adore singing Mozart, and many define me as a "Mozartian voice." Let's say I am very flexible: I am able to sing soprano roles with coloratura in the Baroque and Mozartian repertoire, but also lyric soprano roles. I also happily sing Carmen—a role originally written for a mezzo-soprano, but one in which I feel comfortable. I believe my strength lies in my vocal flexibility. I can adapt my vocal color according to the musical language and the drama of the piece.

4. Which opera role has been the most challenging for you, and what did you learn from performing it?

I would say the most demanding role was Violetta Valéry in Giuseppe Verdi's La Traviata. The three acts are almost as if they were written for different types of sopranos: starting as a coloratura soprano and culminating in a dramatic soprano. Even the acting aspect is tough and changes radically across the three acts. It was a challenge that I am proud to have accomplished.

5. Is there a particular composer or opera that has had a profound influence on your artistic career?

Naming just one isn't easy; over time, there have been several depending on the repertoire I had to prepare. But if I had to name one in particular, I would say Mozart: his compositions offer unmatched vocal comfort. Singing Mozart means resetting the voice and finding softness again after periods spent singing vocal difficult music, such as much of the contemporary repertoire. 

6. What goes through your mind during those final moments before you walk onto the stage?

Usually, there are doubts about facing the audience—will they like my performance? Sometimes it can be affected by your physical condition or what you are going through at that moment. But once you cross that line, none of that exists anymore; those thoughts dissolve like fog in the sun. 

7. Opera requires an extraordinary combination of technique, discipline, acting, and emotion. How do you prepare for a demanding performance?

First of all, I need to form a symbiosis with the character—not just musically, but also psychologically. I don't want to merely interpret a role; I want to become that specific character, feel their exact emotions, and love and hate in the same way. I also explore the historical and cultural context in which the opera is set until I achieve a complete synthesis. After that, I start studying on my own, then with a pianist, all the way through to the dress rehearsals. 

8. Have you ever experienced a performance that was especially emotional or unforgettable for you?

My first time at Carnegie Hall in New York was one of the many milestones I had dreamed of achieving. During my tours, I would happen to walk past this temple of music and say to myself: "One day, I will sing here." Then the moment arrived, and it was a unique thrill—from the stage door to the long corridors, thinking of all the great artists who had walked through there. In my dressing room, there was a painting of Antonín Dvořák; I took it as a sign, especially since I had just finished studying his Gypsy Songs. Behind the stage, the emotion was palpable, but it settled down as soon as I stepped onto the stage and was welcomed by the audience's applause. It was a true success, and to this day, I consider it the greatest thrill of my life.

9. How important is acting and storytelling to you when you are performing an operatic role?

Interpretation is fundamental: opera is a complete art form where everything—music, lyrics, and acting—coexists in harmony to produce something unique and unrepeatable. Every performance is different, as the emotions change. That is the magic of the stage arts. 

10. What is the greatest misconception people have about opera and the world of classical singing?

The fact that people consider it a trend of the past, rather than seeing it for what it truly is: an evergreen. On a much broader level, art is timeless; it is influenced by its historical period, but its underlying themes can adapt to any era. For instance, Verdi wrote about revolutionary movements in Aida and Nabucco, but these themes can adapt, albeit in a different light, to modern times. 

11. You have performed for audiences with different backgrounds and cultures. What does music allow you to communicate that words sometimes cannot?

Music is a universal language; it reaches the depths of one's being and creates a perfect alchemy between performer and audience. Art transcends reality, though much depends on the sensitivity of the people involved—both the performer and the audience. 

12. If you could perform one dream role in any opera, with any orchestra or conductor in the world, what would it be?

I would love to play the role of Donna Elvira in Mozart's Don Giovanni at the MET in New York, conducted by Maestro Gustavo Dudamel. 

13. Beyond the stage, what kind of person are you? What are some things that people might be surprised to discover about you?

It isn't easy to give an answer—even offstage, my attention is always focused on music, studying new repertoire, and so on. Something that is truly a part of me is my love for animals (in fact, I have been a vegetarian for many years) and nature; I love hiking and visiting thermal spas. 

14. Finally, what advice would you give to a young singer who dreams of becoming a professional soprano and performing on the world's great stages?

Above all, it takes a great divine gift: a special voice. Beyond that, great musicality and endless study are essential. You have to study tremendously hard—both vocal technique and repertoire. It requires a great memory to learn operas and chamber repertoire in various languages. Then, it demands enormous discipline, intelligence, and dedication. Music must always come first.