• The Exclusive Opera Lively Interview with Diana Damrau

    [Opera Lively interview # 99] Opera Lively met Ms. Damrau in person in New York City in late March during her Traviata run at the Met, and conducted the following interview with this gifted singer:

    Photo Credit Michael Tamaro

    Singer - Diana Damrau
    Fach - Coloratura Soprano
    Born in - Günzburg, Bavaria, Germany
    Recently in - Rigoletto (Gilda), and La Traviata (Violetta), Metropolitan Opera House
    Currently in - La Traviata (Violetta), Opernhaus Zürich, May 5, 8, 11, 15, 18 - click [here]
    Next in - Several cities, recital with harp, Xavier de Maistre; then a gala concert in Hamburg, then Lucia di Lammermoor (Lucia) in Munich. See complete schedule [here].
    Singer's official website: www.diana-damrau.com

    Artistic Biography:

    Acclaimed as the “leading coloratura soprano in the world” (New York Sun), Diana Damrau continues to amaze audiences with her brillant voice and arresting stage presence. A regular guest to the most renowned opera houses and concert halls, she was awarded the title Bayerische Kammersängerin in 2007 and, in 2008, named “Singer of the Year” by Opernwelt magazine. A documentary on her life, directed by Beatrix Conrad entitled "Diana Damrau – divine diva" was first aired on the French-German TV channel Arte in February 2011.

    Diana’s 2012/13 schedule have included appearances as Gilda in the Metropolitan Opera’s new production of Rigoletto which was broadcast live in movie theatres worldwide. A few weeks later she made her eagerly anticipated role debut in Verdi’s Traviata with the same company. In Europe, she will premiere the role of Violetta at Zurich Opera whilst still continuing to explore the bel canto repertoire further. This repertoire is set to figure prominently in her schedule during forthcoming seasons and includes the title role in Lucia di Lammermoor at Munich’s Philharmonie this Summer. Diana looks forward to future role debuts including Amina (La sonnambula) and Juliette (Roméo et Juliette) as well new productions of Manon, La Traviata, Les Pêcheurs des Perles and Lucia di Lammermoor. Complementing her operatic engagements in 2013, concerts and recitals take her to Washington, Paris, Geneva, Lyon, London, Hamburg, Vienna, Bad Kissingen and the Schubertiade Schwarzenberg.

    Highlights of the past two seasons encompass Philine (Mignon) and Elvira (I puritani) with Grand Théâtre de Genève, Linda di Chamounix with Gran Teatre del Liceu Barcelona, Lucia in the Met’s tour of Japan, Manon at the Vienna State Opera and Donna Anna in a concert performance of Don Giovanni at the Baden-Baden Festival, a recording of which was commercially released by Deutsche Grammophon. In 2011, Diana scored a tremendous success with her stunning rendition of the three soprano roles in a new production of Les contes d’Hoffmann at the Bavarian State Opera.

    As a member of the ensembles at Mannheim National Theatre and Frankfurt Opera, Diana’s career gained momentum with much-praised guest appearances as Queen of the Night, Zerbinetta and Adele (Die Fledermaus) in Munich, Berlin and Vienna. Free-lancing since 2002, she took on the female lead in the world premiere of Cerha’s Der Riese vom Steinfeld at Vienna State Opera and was hailed by the critics for her UK debut as Queen of the Night (2003), as well as her spectacular rendition of the title role in Salieri’s L’Europa riconosciuta at the re-opening of Milan’s La Scala (2004). Other noteworthy engagements include Gym Instructress/Drunken Woman in the world premiere of Lorin Maazel’s 1984 at Covent Garden, Susanna at La Scala, Konstanze at Vienna’s Burgtheater, Zerbinetta at Teatro Real Madrid, Gilda at Semperoper Dresden, Gretel at Covent Garden, Sophie (Der Rosenkavalier) at the Baden-Baden Festival, and role debuts as Marie (La fille du régiment, San Francisco), Donna Anna (Geneva), Massenet’s Manon (Vienna) and Aminta (Munich).

    A beloved artists to the audience of the Metropolitan Opera, Diana has returned to New York every year since 2005, tackling Zerbinetta, Rosina, Aithra, Konstanze, Gilda, Lucia, Marie, Adèle (Le comte Ory) and Adina, and causing a sensation by singing both her first Pamina and her last Queen of the Night in a 2007 run of Die Zauberflöte. In Europe, she has close ties with the Salzburg Festival, where her 2001 debut was followed by appearances as Queen of the Night, Konstanze, Blonde, Fauno and Susanna. The list of conductors who accompanied Diana’s career includes Riccardo Muti, Zubin Mehta, Lorin Maazel, James Levine, Sir Colin Davis, Ivor Bolton, Nikolaus Harnoncourt, Kent Nagano, Fabio Luisi, Jérémie Rhorer, Dan Ettinger and Christian Thielemann.

    In addition to her achievements in opera, Diana has established herself as one of today’s finest Lieder singers having given recitals with pianists including Helmut Deutsch and Julius Drake at renowned venues including Berlin’s Philharmonie, Vienna’s Musikverein, London’s Wigmore Hall, New York’s Carnegie Hall, the Salzburg Festival and the Schubertiade Schwarzenberg. Her extraordinary muscial partnership with harpist Xavier de Maistre is documented in the form of a CD release (Nuit d’étoiles) and a TV recording of a recital in Baden-Baden. Diana regularly performs songs by the British composer Iain Bell, whose first opera A Harlot’s Progress will open at Vienna’s Theater an der Wien in 2013/14, featuring Diana in the title role of Moll Hackabout.

    Recording exclusively for EMI/Virgin Classics since 2007, Diana made her CD debut with Arie di Bravura, which received enthusiastic reviews and prestigious awards. Subsequent solo projects encompass discs with Mozart arias (Donna), coloratura pieces of the romantic period (COLORaturaS), orchestral songs by Richard Strauss (Poesie, awarded with the ECHO Klassik in 2011) and songs by Franz Liszt. Diana’s discography is rounded off by various opera, concert and recital recordings on different labels. TV broadcasts, most notably from the opening gala of the 2006 Soccer World Cup in Munich, have made her well-known to the broad public.

    A native of Günzburg an der Donau in Germany, Diana studied voice with Carmen Hanganu at Würzburg Conservatory and with Hanna Ludwig in Salzburg. In 1995, she made her professional operatic debut at Würzburg’s Mainfrankentheater, later joining the company’s ensemble. Diana is married to French bass-baritone Nicolas Testé, with whom she has two sons, born in 2010 and 2012.


    Damrau with EMI/Virgin (she is now one of their exclusive artists):

    Arie di Bravura, her first release is a recital of Mozart, Righini and Salieri arias with Le Cercle de l'Harmonie, conducted by Jérémie Rhorer.

    Donna (November 2008) is a collection of Mozart opera and concert arias and is a return collaboration with Rhorer and Le Cercle de l'Harmonie.

    COLORaturaS (November 2009) is a collection of arias with which the soprano is most closely associated and features the Munich Radio Orchestra conducted by Dan Ettinger.

    Poesie (January 2011) is a collection of Richard Strauss' orchestral songs recorded with the Munich Philharmonic under the baton of Christian Thielemann.

    Liszt Lieder (October 2011) is a collection of classical songs by Liszt, accompanied by pianist Helmut Deutsch.

    Previous recordings include Verdi's Canzoni, Mahler's Des Knaben Wunderhorn, and Schumann's Myrthen, Op. 25, with the Telos label and live recordings of her summer 2005 Liederabend at the Salzburg Festival and her summer 2006 Liederabend at the Schubertiade are released on the Orfeo label. Damrau also appears on Deutsche Harmonia Mundi's release of Mozart's Zaide in the title role, and performs alongside Adrianne Pieczonka and mezzo-soprano Elīna Garanča's first solo release with Deutsche Grammophon; together, they perform the trio finale from Richard Strauss' Der Rosenkavalier.

    On DVD (four of these also on Blu-ray):

    • Rossini's Le comte Ory (Metropolitan Opera)
    • Verdi's Rigoletto (Semperoper Dresden)
    • Strauss's Rosenkavalier (Baden Baden)
    • Humperdinck's Hansel and Gretel (Covent Garden)
    • Mozart's The Magic Flute (Covent Garden, Salzburg Festival)
    • Mozart's Ascanio in Alba (Salzburg Festival)
    • Mozart's Die Entführung aus dem Serail (Oper Frankfurt)
    • Mozart's Die Entführung aus dem Serail (Liceu)
    • Mozart's Le nozze di Figaro (La Scala)
    • Lorin Maazel's 1984 (Covent Garden)
    • Mahler’s Symphony Number 2 with Pierre Boulez


    The Exclusive Opera Lively Interview with Diana Damrau


    © Opera Lively - Disclaimer: this exclusive interview is copyrighted by Opera Lively with all rights reserved, and is not to be reproduced without express authorization. Brief excerpts can be used after consultation (use the Contact Us form) as long as proper credit and a link to the full interview on Opera Lively are provided. Links to the interview can be posted without authorization. All photos were used with permission of the artist, and fully credited.

    Credits - Questions by Opera Lively journalists Mary Auer and Luiz Gazzola.


    OL - You’re making your role debut as Violetta here at the Met. This is a part you’ve been looking forward to, but it’s also very demanding. It’s sometimes said that Violetta needs to be sung by three different voice types. How have you prepared for this role in terms of vocal technique?

    DD – I prepared for Violetta my whole career. I started as a coloratura soprano and was able to sing all the light repertoire for my voice, and then with time, and now with two babies and changes of hormones and with age, my voice, thank God, has not lost the high notes and its agility but it has gained in warmth and also in lyrical and dramatic potential. So, my voice is really ready, and I’m also ready as a person. Violetta is a very, very complex role. It’s a role of a woman that contains the most opposite and the most extreme feelings. Violetta knows that she is going to die; she is courtesan; she finds love and she gives up her love for the sake of Alfredo and his family. These are big decisions and big problems that are thrown at her from the moment she meets Alfredo. To live through all this, I think you can’t do it as a young singer. You really have to know life, and know what it means to lose something, and what it means to be loved. Yes, Traviata was always my dream since I fell in love with opera by watching the Zeffirelli movie when I was twelve. For me, this is the most beautiful thing humankind has created – what people can do with their bodies and their voices in this beautiful, dramatic story. Thank God I now have the possibility to play this role and my voice can do this; I worked for this the whole time and now I can, it’s the harvest!

    OL – You are singing in this Willy Decker production, following the footsteps of Anna Netrebko and Natalie Dessay. How do you plan to make of this version something unique, the Diana Damrau version?

    DD – I think everybody is different. We are not copies of each other. We all have different voices and we can show different aspects of Violetta. Anna’s connection and chemistry with Rollando Villazón and their ability to play together was instrumental to show this great love of these two lovers in Willy Decker’s production in which Violetta and Alfredo get much more time on stage together than in other productions. Natalie Dessay also had a different approach. All of us worked with Willy Decker. He sees and feels what each of us is capable to do, and he goes in that direction. It’s never a remake, it’s always new, when the cast changes.

    OL – Saimir Pirgu who is singing with you is a very young and exciting tenor; we interviewed him too, and I love him. [Read Saimir's interview (here)]

    DD – Yes, absolutely, Saimir is the perfect Alfredo. He has the youth, he has the fire for it, and he is handsome as well. We work well together, on stage.

    OL - In a couple of months, you will also sing Violetta at the Zürich Opera in a production by Jürgen Flimm. His approach seems to be somewhat more traditional than Herr Decker’s. Have you had any opportunities yet to discuss the Zürich performances with Herr Flimm?

    DD – Oh, I have not seen the production, yet. I don’t know what is going to happen there, in Zürich. It will be a big revival, in this big opera house that has a lot of repertoire productions, so we get one week of rehearsals. We do our best. All of us put our thoughts and our experience into it. There is no possibility of working with Jürgen Flimm every second of the staging, but surely it’s going to be thrilling.

    OL - A few years ago, you said that Violetta was probably the farthest you would go with Verdi roles, or perhaps Amelia in Simon Boccanegra. Do you still feel that way, or has your voice developed to a point where you may consider some of his heavier lyric roles?

    DD – As you said, Amelia for sure would be a good role for me. But the bigger ones are not so possible for me.

    OL - Since you’ve been adding more bel canto roles to your repertoire, are any – or all – of Donizetti’s Tudor Queens parts that you want to sing? Or Lucrezia Borgia?

    DD - I want to do the Donizetti queens, with time. Roberto Devereux, I love that opera, and I think I can sing it, but not now. Later, later. For now, I’ll stay with Violetta for a nice while. I’ll enjoy this. And then I’ll probably go further in the Mozart and Richard Strauss repertoires.

    OL – Since you’ve mentioned Richard Strauss, two other noted bel canto sopranos, Montserrat Caballe and Teresa Stratas, not only recorded the role of Salome but also sang it in staged productions. Do you think that might ever be a possibility for you?

    DD - I wouldn’t do Salome, it is too dramatic and I don’t want to hurt my voice.

    OL - Your repertoire includes several comic roles, from Adina, Rosina, and Marie in La Fille de Regiment to Zerbinetta and Aminta (The Silent Woman). Some have said that it’s actually more difficult to do comic roles well than any others. What have your experiences been?

    DD – Well, sure, regarding comic roles, playing a great comedy is by far more difficult than a tragedy. Comedies are faster; there’s more timing; there are moments when your acting needs to be on the point. It’s much, much faster so you must be always ahead. I love both comedic and tragic roles. You can’t imagine how much I enjoy singing Violetta, finally. It’s such a deep role with dramatic moments, and lyric moments, and soft moments, and moments of anger and power, moments of fragility, there is everything in this opera. It’s a real drama, a real story, very very deep, so I love that. But sure, to play a Zerbinetta or Aminta, or like we did Le Comte Ory, where we really had to invent a lot to make it funny, is always very enjoyable. You can’t just make it for the sake of being funny, you can’t sit on a joke. You don’t have to laugh when you play comedy. It’s the public that has to laugh, and that’s difficult. Sometimes you think you are funny but you are not, because you are doing too much. You need the right dose.

    OL - Another 20th century role that some lyric and coloratura sopranos have sung very successfully is Berg’s Lulu. Is that a part that would interest you or suit your voice?

    DD – Oh, Lulu. I know, Lulu is a child-woman. Lulu is a wonderful role to act. I would do the play immediately, without the music. For myself, I have a problem with Berg’s Lulu. For me, it’s too long, it’s very dramatic, and my ears and my soul don’t really get friends with the music.

    OL – I see. Now, 21st century opera: you sang the role of Charrington the Gym Instructess in Maazel’s 1984. This opera had poor reviews in England but better reviews worldwide. What is your opinion of it, and is singing contemporary opera something that appeals to you?

    DD – Well, yes! Before that I did in Vienna Der Riese vom Steinfeld which is also contemporary music with extremes for the voice – I had to hum until the key of E, on stage, at the end of the opera, so I had to have voice left for that moment. The Maazel opera was fantastic in another way. I had two small roles, the Gym Instructess and the Drunken Woman. The Gym Instructess, the music for her is like the one for the Queen of the Night. You have to be there and be pinpoint accurate. It’s a very dramatic role with really strong coloratura, and staccati. I had to do speaking and shouting on top of the music, and do a whole body work-out. So that was a great challenge, and I loved it. The Drunken Woman was a character role with belching in the lower voice. She had to throw up on stage. I can’t do that! This was extreme acting! Fun acting, because he made me do really terrible things on stage, we had fun rehearsing it. Everybody was afraid of me! It was pretty nice. Also, it was high and low, I had a combination there between opera and musical technique.

    OL - Later this year, you will sing the role of Moll Hackabout in Iain Bell’s new opera, A Harlot’s Progress, at the Theater an der Wien. The libretto by Peter Ackroyd is based on William Hogarth’s etchings with this same title, which actually preceded Hogarth’s A Rake’s Progress.

    DD – Iain Bell is writing this opera for me. Now, the opera is finished, and this year it’s the world premiere. Because it’s written for me, we have discussed everything. His music is lyrical but acid, if you want to describe it. He creates wonderful atmosphere. There is a lot of power and a lot of responsibility for the singer. The lines and the language, with the melody… oh, Iain is brilliant. And he writes for the voice, for a singer with classical technique. Moll Hackabout is the harlot of the title. It’s like a Manon story. She has a syphilitic mad scene at the end of the opera so it’s much darker, and interesting.

    OL – Indeed, both Moll and Manon involve the downfall of a girl from the country. You are also a noted Mozartean stylist. Some noted opera stars, such as Birgit Nilsson and Siegfried Jerusalem, said they found singing Mozart to be healthy for their voices. Yet others contend that the notion of Mozart as a “tonic” for the voice is a myth, that singing Mozart well is actually quite difficult. What are your thoughts on this?

    DD – Yes, Mozart is quite difficult, but that’s why it is healthy for the voice. You have to be aware of every note and how you sing it, and you have to have good and clean technique. Singing Mozart is good for the brain, first. And then it’s good for the voice. But when you don’t have good technique, Mozart can kill you.

    OL – Oh wow, this clarifies the issue very well; thank you for your answer. When one looks at your repertoire, one sees as many roles in Italian or French as in German. As recently as a decade ago, there was a much more rigid stereotyping of singers. Italian singers were supposed to sing the music of Italian composers, and German singers were supposed to sing operas by German or Austrian composers. For the Met to cast Hildegard Behrens as Tosca or Plácido Domingo as Lohengrin was really quite unusual. But that no longer seems to be the case. Did you ever experience problems with opera houses outside the German-speaking countries casting you in Italian or French roles?

    DD – No, I’ve never had problems with that. I have to say, now comes the real utopia, because my teacher, she told me “Diana, you must have dreams, you must have the impossible dream; having dreams is good for you; have some for your private life and for your profession.” So, I had the impossible dream of me as a German coloratura soprano. I was very young then, when we had this conversation. I said “one day I will sing La Traviata at La Scala di Milano” – and you know, everybody is afraid of La Scala. They will throw boos and tomatoes at you. So, we thought that a German singing that role over there, would never happen. But I’m opening the season on the 7th of December, in a new production of La Traviata at La Scala di Milano in the year of Verdi!

    OL – That’s right, it can’t get any better than that!

    DD – Yes, it can’t! But I’m terrified! But I’ve had roles at La Scala already.

    OL – And how did they treat you?

    DD – Very nicely, thank God! Sure, it’s wonderful to have singers with original language there, singing in their mother language – Germans singing in German, or Italians singing in Italian, because you have the real feeling for the sounds of the language, because you know what feelings and thinking really lie behind those words. Germany, specially, is such a complex language. In English you have one adjective expressing a feeling, but in German for the same feeling you have five different ones, and each treat a different aspect of it, and you have to really understand it to be able to render these nuances. But nowadays, all singers are very much in touch with the importance of language. When they sing, they transport a lot of information through the language, so everybody is very keen on having proper pronunciation and knowing what is going on behind each word. You need to know every single word. It is not necessary to speak the language but you must know every word, not only in direct translation, but also in what lies behind the word with its layers of meaning. When I prepare Russian songs -- I have Rachmaninoff in my Lieder recitals at the moment -- I take Russian coaches and I want to know everything that is behind each word. I need to actually feel the country and its people, in the writing. It’s what we have to do, and it’s possible. I mean, you have to have some talent for that, and the time to learn.

    OL – It seems that convenient air travel and continuing development of rapid communication technology have all helped to make opera truly international now. But some people have complained that this internationalization has come at the expense of stylistic authenticity. Do you think that there is a risk that this will maybe homogenize too much the way people sing opera, so that singers will lose a bit of the Italianate style, or of the German style?

    DD – Well, I hope not. No, I don’t think so. It depends on which level you are thinking. If you are thinking The Metropolitan Opera, and Wiener Staatsoper, and Paris, and London, and Munich, really in these top houses, the top should happen and will happen. It all depends on us singers, how seriously we take everything, to keep that style well characterized and pure, and we should honor our coaches and our conductors who give us this knowledge. The teachers should keep and transmit this knowledge to the new generations of singers, so that it is not lost.

    OL – Good answer! Opera has long held a very important place in Germany’s cultural life. Almost any city or town of any size has a theater where operas and operettas are performed, and the smaller houses have been valuable training grounds for new singers. You began your career at the theaters in Würzburg and Mannheim. But the global economic troubles of the past several years have really hurt some houses. They’ve had to cut back on the size of their ensembles and orchestras. One thinks of the current situation at the Cologne Opera. What impact do you think the reduction in public funding to opera houses will have on the future of opera in Germany? At the Salzburg Festival, Alexander Pereira is actively pursuing public-private partnerships. Do you think more theaters in the German-speaking countries will move in this direction?

    DD – In Germany and Austria we are still lucky to have the support of the State. But it is undeniable that with the crisis, everybody should consider contacting private sponsors to keep this going. Art is food for the soul. It’s our history. It’s more important than a lot of business people think.

    OL - You’ve often sung the part of Gilda. With all of the changes to social and sexual mores in Western society over the last 50 years, it may be difficult for people today to understand or sympathize with Gilda’s situation, since she doesn’t fit the mores of the modern woman when she supports her rapist. How do you create empathy for such a character with the younger audience?

    DD – I think Gilda is just a young, very young girl, for the first time in love. I’m not sure if the Duke really raped her. But even if he did, her love is just so big that she sticks with this idea and wants to prove to her father that he will change. Probably he has told her, when she was alone with him in his palace and she finally realized that he was the Duke, some sort of idea that made her give in. In his earlier aria he says she is the girl that could have touched his heart. He has some feelings for her. I’m not sure if he raped her, I actually don’t think he did. But yes, she has to turn and explain it to her father, and she is all tormented in that moment. It’s the biggest thing that has ever happened to that young girl. I think even modern young women can relate to this moment that Gilda is going through.

    OL - You and French harpist Mr. Xavier de Maistre recorded a selection of Debussy songs for Sony, and your joint recital at the 2009 Baden Baden Festival was televised. How has your concert program developed since then in terms of the selection of material you perform?

    DD – I’m a maniac with songs, and especially the French songs and melodies. You don’t hear that repertoire too often, but already doing studies, I delved deep into all the Debussy, Chausson, all those composers and their music. I try to do them as often as possible in recitals. There aren’t so many opera performances of music like that. Maybe one day I’ll do Mélisande. We’ll see. But especially the melodies, and the French music with its elegance and purity, appeal to me. I’m very interested in Impressionism.

    OL - You are a member of Bavaria’s Maximilian Order for Science and Art, which includes some of the greatest singers and composers of the current century and the past two. This is really a very select group, isn’t it? How does it feel to be part of an Order that includes Brahms, Meyerbeer, and Richard Strauss?

    DD – This was like the German Nobel Price. It is like being a knight. It’s a great, great honor to be selected to be a part of this group.

    OL – You got a long list of awards from your country. You’ve even received the title of Kammersängerin from the State of Bavaria. You must be very popular there.

    DD – Yes, in Bavaria, yes!

    OL – Are you recognized on the streets, there?

    DD – No… no… well, sometimes. You know, the opera world is small. I don’t do the yellow press circuit… I’m calm.

    OL - I’d like to ask you about some of the charitable work you do. You have appeared in benefit concerts for the Fascination Regenwald Foundation, which supports protection of the world’s rainforests, and for Frankfurt’s “Städel” Museum. How did you become involved with these organizations?

    DD – The doctor who found the Fascination Regenwald Foundation comes from my hometown, so it was just a question of time for we to get together. If I weren’t an opera singer, than I’d probably be in the rainforest, do some storm research, something with nature; this is very dear and important for me. And the “Städel,” well, art helps art. I’m always there to help art, to help poetry and songs. I’m now on the Board with Thomas Hampson’s song project.

    OL – Oh, nice, we’ve talked to him about his project, he was one of the first interviewees in Opera Lively’s beginnings [Editor's note: read his interview (here)]. Now, to end this interview on a more personal note, you are a mother of two boys (and I’m having the privilege of meeting your baby right now!) [Ms. Damrau had her baby with her during the interview], and you’re married to a singer. Would you please tell us a little about the person Diana Damrau, how your personality is, and what you love to do besides opera and your family?

    DD – I think I’m a positive person. I am very curious, I want to learn things. I want to get deeper into things. I love movement. I am very energetic. I’m giving. I love my children and my family. I need nature. Being always in big cities, I need to escape somewhere, into nature. I need some space to think and regroup, recharge the batteries. I love animals. I hate violence against anybody – animals, children, everything.

    OL – Thank you very much for a lovely interview!

    DD – You’re welcome!


    Let's listen to Ms. Damrau on video clips:

    Her iconic Queen of the Night (starts at 2'12"):

    One of my favorites of her clips, a display of purity of voice in Ave Maria:


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    Comments 1 Comment
    1. Jephtha's Avatar
      Jephtha -
      Thank you Alma for this fine interview. Very interesting to get a peep inside the mind of Miss Damrau. It is exciting that she will be performing Violetta at La Scala. I wonder if there will be a DVD of the production.

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