The Romanian soprano graduated from the National University of Music Bucharest and is currently a Master’s degree student at the National Academy of Music “Gheorghe Dima” in Cluj. She was born to a family of operatic singers, who provided her with musical preparation from her early childhood. 

She sang on many theatre, Philharmonic, and Radio stages in Romania, as well as Italy, Bulgaria,  

She was a student of masterclasses with soprano Gabriela Benackova in the Czech Republic, as well as Larisa Gergieva, Eleonora Pacetti, and Boiko Tzvetanov in Romania. She has studied at Conservatorio “Vecchi-Tonelli”, where the New Bulgarian University offered her a 2-year scholarship for the “Vocal technique and interpretation masterclass” with soprano Raina Kabaivanska, her current teacher. 

Her evolution was marked by the debut in the role of Mimì, in La Bohème by Giacomo  Puccini, at the Sofia National Opera, in 2022. The following year, she proceeded to portray Donna  Anna in Don Giovanni by W.A. Mozart at the National Cluj Opera, Romania, as well as Nedda in Pagliacci by Ruggiero Leoncavallo at the Stara Zagora Opera, Bulgaria. She was also Mimì at  National Bucharest Opera, Romania, and Maggio Musicale Fiorentino, Italy.  In 2024, she won the ICMA Young Artist of the Year award.  

She was the winner of the 1st Prize Ex Aequo at Luciano Neroni International Singing  Competition, in October 2021 (Ripatransone, Italy), and the winner of the 3rd Prize at Spiros Argiris  International Singing Competition in October 2022 (Sarzana, Italy).  

In June 2021, she was a finalist of Ionel Perlea International Singing Competition (Slobozia, Romania), where she won the “InArt Management Milano Special Prize”, as well as a  masterclass with soprano Nelly Miricioiu.  

In 2020, she participated in the International Grand Prix of Romania Competition, where  she won the “Prize for the best interpretation of a French aria”.  

Lied Grand Prix of Romania 2019 brought her the “Prize for the best interpretation of a  Romanian lied”. After this accomplishment, she was invited to sing in a relevant concert, hosted by  the National University of Music Bucharest, in collaboration with the Mariinsky Theater Academy  of Young Singers from Saint Petersburg. She won the Grand prize, the Public prize and the “George  Enescu” prize for lieder at Grand Prix George Enescu 2019, which took place in Paris. 

Soprano

Aida Pascu

 (Soprano), ICMA Young Artist 2024 award winner.

Opera is a dramatic extravaganza: love, betrayal and tragedy set against intense vibratos. Romanian soprano Aida Pascu reveals another side, “…this is a very lonely world… You go home, and you’re alone most of the time. Even if you’re married, you have a family. You’re alone. You’re on your own.” This stillness is captured in 

. A rare moment of lyrical calm and peace in an otherwise tumultuous and dark story, this aria presents a quiet moment of appreciation that individual introspection can offer. 

Individual introspection can also reveal vulnerabilities. In the aria 

, the eponymous character, Thaïs, implores for an affirmation of her beauty. Massenet effectively uses melodic repetition until we can feel Thaïs tugging on our arms, pleading for validation as she grapples with the idea that to be loved and valued in society, she must be beautiful.

, written towards the end of his life, provides a brief instrumental meditation before the stage gives way to a well-known operatic heavyweight: Puccini’s 

. This is the 19th century version of a meet-cute: the love interest, Rodolfo, opens the door of his apartment to Mimi, who wants to borrow a matchstick. She introduces herself singing, “Yes, they call me Mimi” and describes her peaceful life as a seamstress. It is a rare moment of simplicity in opera, as she shows a sincere humbleness in her appreciation of everyday beauty.

Replacing simplicity for existential longing, we continue with the first of George Enescu’s three melodies, 

. Enescu paints a graphic picture of an empty landscape through the use of wide intervals, while an ambiguous tonal landscape is supported by arpeggiated figures in the piano, reflecting inner turmoil. It is an inner turmoil that is quickly resolved in the second piece, 

, which expresses the intensity of a fervent love. The final melody, 

, reflects on mortality, with long sustained notes and descending sequences.

Halting the descent into existentialism is Albéniz’s 

. This is a vibrant piece that whistles the charming character of the Spanish city of Cádiz with its dance-like feel and playful melodies. The programme concludes with Fernando Obradors’ 

. Drawing on traditional Spanish folk songs, we see a cultural richness married with the lyrical expressiveness of our previous arias.

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Aida Pascu

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