First mezzo-soprano, then soprano, now mezzo again: farewell or homecoming?  
Singing soprano was my dream - I have realised it. I always knew that it was a temporary affair. 

Do you feel nostalgia?  
More like enrichment. When I look back, there are many beautiful memories of those years. I had to do what my voice wanted. I felt very comfortable in both subjects, but in the meantime the days for the high soprano parts are over because it is exhausting for the vocal chords. 

How do you approach the unsympathetic Clytemnestra?  

She has an enormous richness of colour, is musically and dramatically insanely interesting. The audience doesn't love these negatively cast stage characters, but there are moments when their fragility shows. At one point you think Clytemnestra has lost in the conversation with her daughter, but the situation tips when she hears of the death of her son Orest. She then leaves the stage in triumph, leaving Elektra in full despair. Clytemnestra is a survivor! You have to explore and present this breadth, then it becomes multi-dimensional. 

How do you draw the character?  
With my voice. Richard Strauss makes it easy for me, he has always written well for voices. There are so many soulful movements in the music and the text. The orchestration creates an atmosphere in which I can immerse myself. To always sing Clytemnestra as loud, angry or threatening falls short - she is more than that.

You have been performing on stages around the world for more than 25 years. What were the milestones of your career?
When I came to Germany, I had zero stage experience, zero repertoire, I learned everything from scratch. I grow with every part, until today. The voice changes, the music presents its challenges, it's a constant learning process, even after almost thirty years. Milestones include my debut at La Scala in Milan, of course, and also the Bayreuth Festival in 1994 - after only one year in Germany. 

Your favourite roles as a soprano? 
I liked the Gioconda very much. With Wagner, Isolde was my favourite, all the Verdi roles, especially Aida. I tried everything I could. Every role I decided to sing was my favourite. 

How do you look to the future?
I don't have to sing every day anymore, I can choose what I want. I'm not so young anymore, really in my best Clytemnestra age. I will continue to follow my voice, explore new parts. There are still some Russian operas that I will be rehearsing soon.