On the occasion of her debut as Norina in Donizetti’s Don Pasquale, the distinguished soprano Dimitra Kotidou speaks about the joy and challenge of the new role. From the Queen of the Night to Lucia, the lyric soprano boldly moves between Mozart and bel canto, seeking the profound humanity of the characters she is called to embody on stage, as well as the diverse paths that singing can follow.
You will make your “role debut” as Norina. What does a new role mean to you?
Every new role in opera is a journey of discovery — not only musical and dramaturgical, but also internal. Specifically, my “role debut” as Norina is a special moment in my career. Norina is a role with spirit, intelligence, and charm, requiring both sensitivity and technical precision. Getting to know her through Donizetti’s music is a joyful challenge, as the composer’s writing combines humor, lyricism, and theatricality.
What are the challenges and the appeal of this role?
Norina is a role full of contrasts, and that’s precisely what makes it so captivating yet demanding. On one hand, we have the seemingly light, playful, and witty comedic woman, and on the other, a heroine who needs depth, sensitivity, and true emotional intelligence to avoid becoming a caricature. Technically, the role demands vocal flexibility, clear phrasing, and a brilliant timbre, as Donizetti’s writing moves between virtuosity and expressive subtlety.
The appeal for me lies precisely in this balance: to convey Norina’s humor and vivacity without losing the humanity and tenderness she hides within. It’s a role that makes you smile, but also think – a challenge I love.
How do you approach her interpretively?
I approach Norina with great love and understanding. I don’t see her as a one-dimensional comedic figure, but as a complete woman with intelligence, passion, and tremendous emotional depth. I enjoy discovering her subtle nuances, such as the genuineness with which she loves. I try to illuminate this balance between her vivacity and her authenticity, to show that Norina is much more than a “spunky” heroine.
Interpretively, I am interested in every movement and phrase having sincerity, even when she is pretending in front of Don Pasquale — I want her voice to emerge from emotion, not to be consumed by superficial impressions. Behind every vocal embellishment lies much thought and study, primarily guided by the interpretive style dictated by the composer, but also in conjunction with Norina’s character in each specific situation we encounter her in the work.
So, she is an interesting character.
Beyond her humor and stratagems, I see a personality that asserts her independence and bravely expresses her feelings. Norina is a person who wants to love and be loved, but on her own terms — something I find very modern, true, and at the same time very progressive for Donizetti’s era.
What is the general character of the current production? What have you enjoyed most?
The current production has a fresh, lively, and very human character. The directorial approach gives the impression that the story could unfold in any time period — with rhythm, humor, and immediacy. What I like most is that nothing is superficial: behind the farce, there is always truth and emotion.
Sometimes opera buffa can touch upon difficult themes and uncover rare emotional depths. Does Don Pasquale have this as a work?
A very good question — yes, absolutely. Although Don Pasquale is an opera buffa, beneath the humor and comedic situations lies much truth and emotion. Donizetti does not ridicule his heroes; he loves them. And through this love, he shows us their weaknesses, disappointments, and desires with tenderness. The entire work is a palimpsest of emotions — beneath the lightness of the comedy, one can discern the nostalgia, sensitivity, and loneliness of the characters.
Does your role also have this?
Norina, especially, is a role that has much more to say than initially appears. Yes, she is clever and playful, but at the end of the work, we also see her emotional maturity. There, I believe, Donizetti touches upon something deeply human, something that endures forever…
Before becoming Norina, you were a very successful Queen of the Night.
Thank you very much, I am honored!
How much has this role defined you?
The Queen of the Night is for me much more than a role; it is a force you must tame, full of anger, passion, but also loneliness — a maternal figure with tragic beauty that confronts you with the limits of the human soul. The Queen of the Night taught me to be disciplined and to stand strong in every situation, and to remember that always, after darkness, comes light.
Did you ever feel that this role could become limiting for you as an artist?
I never felt limited by this role; on the contrary, it always gives me the joy of challenging my voice, technique, and interpretation, which is why I particularly love it. I have consciously worked very hard not to be trapped within this role, but to simultaneously perform other great roles, such as Violetta, Gilda, Lucia, Konstanze, Norina in this case, etc. — roles that help me explore different facets of my voice.
Konstanze and Queen of the Night on one hand – Donizetti and Verdi on the other: how easy or difficult is it to transition from Mozart to a bel canto repertoire?
The transition from Mozart to the bel canto repertoire is never self-evident; it’s like moving from crystalline light to a more carnal and pulsating world. Mozart demands precision, clarity, and lucidity; in bel canto, on the other hand, one needs grace, vocal flexibility, dynamic range, and an intense emotional presence.
Having performed Lucia di Lammermoor many times in Germany — a bel canto role I deeply love — I feel that this experience has prepared and technically fortified me before singing Norina. All my previous experiences in emblematic roles help me approach each new challenge with confidence, but also with that delicate sensitivity that keeps the voice alive and true. The beautiful thing is that these two worlds are not so distant after all; one feeds the other. From Mozart, I draw discipline and clarity; from bel canto, passion and boldness. And between the two, I find my own voice.
This summer you had a very successful appearance at the Triethnes Festival, where you combined lyrical and folk singing with contemporary techniques.
I had the great joy and honor this year to participate in the Triethnes Festival in Prespes, a truly artistic communion that united tradition with classical music. It was an experience full of emotion and inspiration, which I believe deeply touched both the audience and us artists. I participated by performing “Pnoi” by Kornilios Selamsis, a composer with a unique and sensitive writing style; for me, this work functioned as a transparent psychogram of human existence, inspired by Elizabethan madrigals. I also had the good fortune to meet exceptional international colleagues from the fields of traditional, Balkan, and classical music, to exchange ideas, inspiration, and love for our art. The Triethnes Festival now holds a special place in my heart, and I would very much like to return, performing a new combination of folk songs with lyrical repertoire.
How easy or difficult is it to combine techniques and repertoires?
I think that combining techniques and repertoires is never easy, but when there is deep knowledge and respect for the music, then something very creative and true is born. I believe that when you have a stable technique, there is no reason to be afraid to experiment; you can move gracefully between different musical worlds, always with respect for your voice as an instrument.
You belong to a generation that lives between Greece and Europe. How reciprocal or one-sided is this relationship, and how can it nourish classical music in Greece?
I indeed belong to a generation of artists who live and create between Greece and Europe, and I believe this relationship is deeply reciprocal when cultivated consciously. On one hand, Greece gives us a sense of identity and roots; on the other, Europe opens horizons for us, offering access to more institutions, stages, and collaborations that help us evolve. The important thing is not to lose balance – not to perceive the “departure” abroad as a one-way street, but as a dialogue between two worlds. Classical music in Greece can be deeply nourished by this relationship, because artists who bring back their experiences, knowledge, and contacts create a cycle of exchange that enriches the domestic musical landscape. Greece possesses enormous artistic potential, and the more we act as “bridges” between places and cultures, the more our music gains a voice with international resonance, without ever losing its soul.
Do performances in Greece have any special significance for you?
It is a great joy and emotion every time I return to Greece, presenting my work in my homeland, knowing that my family — who always supports me — will be there, as will the Greek audience, which possesses a unique warmth and appreciation for artists. For me, this is invaluable.
Where are you currently directing your career?
My career is a continuous journey for me. Every role, every collaboration, every stage I am on is an opportunity to evolve as an artist and to share something meaningful with the world around me. This communion is the compass of my path. This current season, I already have scheduled performances in Greece and abroad, for which I feel great joy and gratitude. At the same time, new opportunities and roles that I dream of performing are constantly emerging. Lyric artists who travel frequently know that a phone call can change everything; it can send you the same day to a theater on the other side of the world. Perhaps that’s why there’s always a suitcase ready by my door, so I can follow wherever the music calls me.
Beyond travels and roles, what interests me most deeply is creating conditions around me where people feel safe to express themselves, to coexist, to live peacefully. I want my voice to have substance, to awaken, to breathe, and to leave a small but positive imprint. Above all, I seek to collaborate with people who share the same passion and kindness towards music. In Don Pasquale, I am truly happy and proud of the entire team — both on and off stage. Our collaboration is excellent, the atmosphere creative, and this gives me much hope for the future.
For me, music is not just art; it is a way to connect, to give and receive, to leave an imprint that matters, even a little. Every moment, every note, every performance is an opportunity to make the world a little brighter, more peaceful, more noble than we found it. That is where I direct my steps.
