“I will sing three arias by Mozart that resemble gymicana of obstacles.”

– What does it mean to you to sing again with Ross in a program entirely dedicated to Mozart?

-For me, it is always an honor to be next to Ross. I’m so grateful that they can count on me again. The last time was at a New Year’s party. They always try to count on me at least once a season. It is a program that requires a lot of commitment and responsibility. I’m doing three devilish musical tunes. It’s a Tour de force And beauty. They are Mozart’s most inspired pages ever written for the light, lyric soprano. They also have a very complex technical component. There is a wide range of registers from very low to very high notes. “Popoli di Tessaglia” has two high Gs and two high Fs in the style of “Queen of the Night” from “The Magic Flute”. This is the first time I have come across high Gs, as they are very difficult to see in the score.

– What distinguishes you about singing with the Royal Symphony Orchestra of Seville and also at the Teatro La Maestranza?

– Since it’s a very full orchestra, there are always different configurations around the program they’re doing. We recently played “Il califfo di Bagdag” at the Seville Opera Festival with a group of players. Here we have a smaller chamber orchestra. It is not the same orchestra that “Lucia de Lammermoor” or other operas require. They are all great professionals. I feel at home with them. Many musicians have told me during training that they have seen me grow, which is something I am proud of. Since I started singing in the Maestranza Theater Choir, these musicians have been able to see me at all my stages. I’m so excited that they included me in such a demanding program. These three arias composed by Mozart were dedicated to Aloisia Weber, a singing student he wanted and who later became his sister-in-law. She also sang the song from “Queen of the Night”. He had great vocal quality because otherwise he couldn’t have sang those high notes.

How do you prepare to deal with Mozart’s transparent and demanding writings?

-Voice training varies depending on the repertoire one is taking up. It’s like exercising. It is a muscle that must adapt as a dancer does to different choreographies. Mozart requires a great deal of flexibility in your voice and breadth of registers to reach such extreme notes. It was necessary to simplify the exact area to keep it fresh so that the melodies wouldn’t weigh down too much. The “Frühlingsstimmen” waltz from the ROSS New Year’s Concert had vocal fireworks, but these three Mozart arias represent another step forward on the artistic side. It’s like a gym of obstacles.

– How do you describe working with director Jan Willem de Vriend on this program dedicated to Mozart?

– In these programs you train very quickly. We trained all day Tuesday morning and afternoon. He’s an enthusiastic guy with a lot of energy. He is very precise in everything Mozart writes. He always tries to help the singer to feel comfortable. It’s my first time working with him. He was very surprised that I was from Seville and told me that he expected the audience at the Maestranza to applaud me. I hope people enjoy this Mozart of Seville.

– What memories do you have of your participation in “El Calevo de Baghdad” at the first Seville Opera Festival?

– It was something very special and also very complicated because we worked outdoors with very few rehearsals in the Alcázar, where we were going to perform. As Alicia Naranjo and I sang, the bells of the Giralda began to ring. It wasn’t planned. On the one hand Geralda sang and on the other hand we sang. I don’t know if it’s a duel, a duet, or a trio. At that moment we were exhausted because nothing could be done. Now I remember it, albeit with a poetic and romantic touch.

– What are the main projects awaiting you in 2026?

—Currently I’m starting the year in Germany with a New Year’s concert. Then I will go to Poland with the baroque band Los Elementos to perform the zarzuela “Blind is love, it is not blind” by José de Nebra. Likewise, in April I will accompany Ismael Jordi at the Villamarta Theater in Jerez in a concert where he will celebrate 25 years of his career. Then I will go to the Lyceum in May to perform Massenet’s “Werther,” where I will make my debut in the role of Sophie. I also hope that the Maestranza will soon see me perform in an opera. It is the most special theater for me. Furthermore, acting in Seville means I spend time at home instead of working abroad.