The MET Opera's 'The Queen Of Spades' Star Sonya Yoncheva Talks Opera, New York and Travel
"Queen of Spades" star Sonya Yoncheva.
Manfred Baumann
Superstar Sonya Yoncheva stars in the Metropolitan Opera's upcoming production of Tchaikovsky's 'The Queen of Spades,' opening on Friday, May 23 at 7:30 PM.
The Bulgarian native, who now calls Switzerland home, plays Lisa. Yoncheva has played iconic roles at the Met before such as the title role of 'Tosca,' Mimì in 'La Bohème,' the title role of Luisa Miller, and Violetta in 'La Traviata.' She made her Met debut as Gilda in 'Rigoletto' in 2013.
Next season at the Met, Yoncheva returns to sing the role of Maddalena in 'Andrea Chénier' and Cio-Cio-San in 'Madama Butterfly. '
I interviewed the operatic star recently about how she prepares for a performance, her favorite restaurant in New York to sit at the bar, and more.
My favorite opera that's not my own:
My favorite opera not in my repertoire is Richard Strauss's Salome.
My pre-performance ritual:
Before I sing or perform, I have a ritual: I listen to the sound of flowing water. It doesn't matter where it comes from - my phone, the bathroom, anywhere - as long as I can hear it moving. The sound of water going somewhere soothes my nerves and helps me feel calm.
After a performance, I:
After every performance, I treat myself to one to three glasses of champagne.
My favorite kind of operagoer (does what):
I truly appreciate opera-goers who come with the intention of immersing themselves in the full experience, those who approach it like watching a beautiful film, ready to be drawn into the story. I am less fond of those who make comparisons, focusing on whether I sang the version of, if I was like… What I truly enjoy are audiences who come to be part of the journey, to engage with the story, and to share the fun with us.
My role model in business is:
I like to think of theatres and artists as partners. To me, this is the business model that truly defines our industry. It's not about being employed by someone or working for an institution, it's about institutions and artists building a career together. That perspective completely reshapes the opera industry and how my career can develop.The best piece of career advice I've gotten:
The best career advice I ever received was to be myself. But in truth, that's also the most challenging advice to follow, because truly understanding who you are is already difficult. And then, being able to present that authentically to an audience, especially on stage, in the most genuine and natural way, that's even harder.
Get the most out of an opera by:
I do a lot of research. But I also place a strong emphasis on the psychological aspect of my character. I need to understand how a real person would react in those situations. That helps me make sense of the libretto, especially when the story gets complicated. It gives me insight into why certain events happen, why a character responds the way they do. This process also deeply informs my acting, how I respond emotionally on stage. It's really a journey from A to Z. If I have historical or literary sources available, I read as much as I can to thoroughly understand the context. Sometimes, in theater, I have the freedom to shape and reinvent the character. But with opera, the libretto often leads in a completely different direction. So, I try to compare the two approaches. For example, when I was studying Tosca, it was very important to me to highlight that she is very young, deeply in love, and profoundly religious. She's also a diva. These layers helped me shape her in a more nuanced way, not just portraying the arrogant side we've often been shown over the years. That's my approach.
The restaurant I love most near the Met is:
Bouloud. I really enjoy being there - I even stop by during intermissions or breaks between rehearsals. You'll often find me at the Boulou bar, having a salad and a coffee, and soaking up the sun, if it's out.
The morning after a big performance, I:
The morning after a performance, I'm usually trying to make sense of what just happened. I'm often completely drained, like a squeezed lemon, because premieres are such an intense emotional experience. The second, third, fourth, and fifth shows get a bit easier, as I settle into the rhythm of the production. But that opening night really takes the biggest toll on the body. By the next morning, I usually have muscle aches everywhere. It's tough - physically and mentally - but there's also a sense of relief. The nerves are gone, and that's when I finally start to enjoy the city. I can go out, meet friends, and have some fun.
The destination I love to travel to most for work is:
If I could choose a dream location to work, it might be something like a grand, beautiful theater - like the Met - but set on a beach in the Caribbean. That would be incredible! But honestly, I love all the theaters I perform in. I feel truly privileged to work in places like Vienna, Munich, New York, London, Paris, Milan, and Rome, such beautiful cities. Each one has its own unique charm, and I genuinely feel at home in all of them.
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