In conversation with Elena Stikhina: "Opera is a once-in-a-lifetime moment.”
22. August 2025
Rubrik Interviews
©Daria Valetova
Soprano Elena Stikhina never set out to become an opera singer in the first place—she didn’t even know the profession existed. Growing up in a small Russian town, she studied piano before discovering her voice at sixteen. That voice, and the fire behind it, would open the doors to the world’s biggest stages. But it’s been anything but easy.
Sacrifices, endless travel, and emotional vulnerability are all part of the deal. “If you don’t have a true passion for opera,” she says, “find something else.”
What makes the soprano so captivating isn’t just her vocal beauty—it’s how deeply she connects to the music and characters. Whether it’s Tosca’s fury or Maddalena’s heartbreak, Stikhina doesn’t just sing; she feels and her voice becomes the emotion, the character, the truth of the moment.
It’s not about performance; it’s about connection, about living fully in that fragile, electrifying space between control and abandon. Elena Stikhina doesn’t just interpret the score—she breathes life into it with all her heart.
For her, the true magic of opera lies in its fleeting power—each performance a once-in-a-lifetime moment, never to be repeated, never quite the same again. In a personal interview with Operaversum Elena Stikhina speaks about her path, her passions, and what it truly takes to live a life on the operatic edge.
Operaversum: When did you first discover that you wanted to pursue a career in opera singing? And was it ever an easy path to follow?
Elena Stikhina: To be honest, I never thought I would become an opera singer. I didn’t even know such a profession existed. I grew up in a small town and studied piano at the local music school. I met my first vocal teacher when I was 15, and by 16, I realized how much I loved singing. That’s when I decided to give it a try.
But no, the path was never easy. This profession requires great personal sacrifice. Such as time, distance from family, constant adaptation to new cities, new colleagues, and ongoing learning and growth. I always say: if you don’t have a true passion for this art, it’s better to find your passion elsewhere. Opera is incredibly demanding, but if you love it then it’s worth it.
Operaversum: Discovering you in a Tosca production at Opéra Bastille a couple of years ago was an absolute revelation to me.
How do you tackle this demanding role of a woman that displays so many characteristic and emotional facets? What is your secret recipe of getting close to this multifaceted personality?
Elena Stikhina: Thank you for your kind words. Honestly, Puccini already wrote everything for us. It’s all in the score. You just have to look closely and listen carefully.
I remember my teacher once told me that the first act of Tosca is almost like an operetta, but then the real drama begins. And that insight helps me a lot. And let’s not forget that these characters are all very young. As we know, emotions in youth are always sharper and more intense.
©Daria Valetova
©Daria Valetova
Operaversum: Fascinatingly, you have a voice that speaks through emotions and reflects on emotional temperatures so well, not only bringing across a technical beautiful voice, but making it authentic and true to the composer's work and intention:
How challenging is it to bring all these attributes to a perfect interpretation so seamlessly together?
Elena Stikhina: It can be very difficult, especially when emotions overwhelm you. But as we say: the audience should cry, not the performer. That’s why we study acting as well, to learn how to express emotion through voice, movement, and gesture without losing control. Experience on stage plays a huge role here. It’s absolutely essential.
Operaversum: This forthcoming festival season, you will be performing Maddalena in Giordano´s epic opera “Andrea Chénier” at Salzburger Festspiele alongside Piotr Beczala and Luca Salsi.
How are the rehearsals progressing and what can the audience expect in this production?
Elena Stikhina: This will be a concert performance, and rehearsals haven’t started yet, but I believe it will be a great experience. It’s a debut for both Piotr and me. We’ve worked together several times already, and he’s a fantastic partner. As for what to expect… I can’t read minds, although I wish I could sometimes!
Operaversum: And what makes the role of Maddalena so fascinating for you?
Elena Stikhina: Maddalena is simply a beautiful role. What fascinates me is how different she is at the beginning and at the end of the opera. And that’s always exciting to explore as a singer and actor. And of course, the music speaks for itself. Her selflessness, her emotional strength, her unwavering integrity! It's incredibly moving.
©Daria Valetova
Operaversum: Opera singers of today have a very busy working schedule. What attributes do you need to cultivate to be both successful and fulfilled and which role does social media play in your artistry?
Elena Stikhina: I think the most important thing is balance. You need to love what you do and have the support of your family. Without all that, it’s impossible. You need to take care of your health and find time to rest and enjoy your work.
Social media plays a huge role today.
We live in a media-driven world, and there’s no room for mistakes. Everything is recorded, posted online, and judged. That’s a lot of pressure. Artists are expected to have a strong personal brand, which is very difficult to build. Few manage to do it successfully.
Operaversum: Does living the drama of opera somehow impact on your personal life or do you always leave the drama back on stage after a performance?
Elena Stikhina: I always say: when you leave the theater, leave the character behind. I try to keep my professional and personal life separate.
Operaversum: Do you have any future aspirations as in acclaimed new roles, repertory and houses?
Elena Stikhina: Yes, Maddalena, of course. And next summer, I’ll finally be singing Norma in Munich, which I’ve been dreaming of for a long time.
I was supposed to debut the role in Boston, but the production was canceled one day before the premiere because of COVID. So this one is truly long-awaited.
Another dream role is Adriana Lecouvreur, and I would also love to perform Verdi’s Requiem again. The pandemic changed a lot of plans, but I hope these opportunities will come soon.
Operaversum: Can you tell me about your most unforgettable and touching stage experience and what made it so special for you?
Elena Stikhina: I think it was in 2017 when I jumped into Eugene Onegin in Paris as a last-minute replacement for Anna Netrebko. I was still a very young singer, and it was a huge challenge for me.
When they announced the cast change, the audience booed for five minutes. I almost cried.
But after the Letter Scene, the applause was even longer. Maybe longer than the booing! It was a big success, and truly unforgettable for me.
©Daria Valetova
Operaversum: In a few words: What makes the magic of opera in your opinion if you had to condense your message down to a short, but powerful elevator pitch to convince somebody who has never been to the opera before?
Elena Stikhina: Opera is a once-in-a-lifetime moment! It will never be the same twice. No one can sing or act exactly the same way again. That’s the true magic.
And to someone who has never been to the opera, I’d say: you’ve already heard more opera than you think. You heard it in films, in commercials. But you can only know if it’s for you by trying. So you must go. Just once and see what happens.
Never try, never know.
©Daria Valetova
Born in Lesnoy, Sverdlovsk Region. Graduated from the Moscow Conservatoire (class of Larisa Rudakova). Trained at the Galina Vishnevskaya Opera Singing Centre under Makvala Kasrashvili.
Since 2014 she has been a soloist of the State Primorsk Opera and Ballet Theatre (now the Primorsky Stage of the Mariinsky Theatre).
Elena made her Mariinsky Theatre debut as Salome at the premiere of new production in February 2017, immediately thereafter she became a member of the Mariinsky Opera Company.
For the role of Salome she was awarded the Onegin Russian opera prize and St Petersburg's most prestigious theatre prize the Golden Sofit.
Since the Operalia competition in 2016 the singer has been a much sought-after guest performer at opera houses in Europe and the USA. She has made her debuts with the Finnish National Opera and the Opéra National de Paris (Tatiana in Eugene Onegin), the Boston Lyric Opera (Tosca in the eponymous opera), the Staatsoper Unter den Linden in Berlin (Mimì in La Bohème), the Deutsche Oper in Berlin (Leonora in Il trovatore), the Bayerische Staatsoper (Senta in Der Fliegende Holländer) and the Metropolitan Opera (Sister Angelica in Suor Angelica) among other famed theatres.
In the summer of 2019 Elena Stikhina made her debut at the Salzburg Festival, singing the title role in Cherubini’s opera Médée.
The singer’s most recent engagements include appearances at the Semperoper in Dresden (Leonora in La forza del destino), De Nationale Opera in The Netherlands (Cio-Cio-san in Madama Butterfly), the Opéra National de Paris (La forza del destino and Prince Igor) and the Grand Théâtre de Genève (the title role in Aida). She made her debut at La Scala in Milan (as Salome), at the Zurich Opera (Salome), at the Royal Opera in London (as Tosca), at the Metropolitan Opera (Tosca), at the Festspielhaus Baden-Baden(Queen of Spades), at the Wiener Staatsoper (Tosca), at the Teatro di San Carlo (Tatiana in Eugene Onegin), at the Salzburger Festspiele (Aida), at the Royal Opera House(Salome).
