Tokyo, Japan – Mezzo-soprano Aya Wakizono is preparing for a highly anticipated return to the stage in her home country, following a celebrated performance as Angelina in Rossini’s La Cenerentola at the Teatro alla Scala in Milan last autumn. The achievement resonated so strongly in Japan that one fellow singer remarked it was comparable to the success of baseball star Shohei Ohtani in Major League Baseball, though it didn’t receive the same television coverage.
Wakizono’s upcoming role debut as Charlotte in Massenet’s Werther at the New National Theatre, Tokyo, in May, marks an exciting new chapter in her career. But her journey to this point has been one of dedication, perseverance, and a growing artistic range.
Wakizono’s connection to La Scala runs deep. It wasn’t simply a triumphant return to a world-renowned stage; it was a homecoming of sorts. From 2014 to 2016, she was a member of the Scala Academy, first experiencing the hallowed stage during her audition. “At that time, I remember being in awe, thinking This represents the stage where Giulietta Simionato, Renata Tebaldi, Carlo Bergonzi and Piero Cappuccilli sang!” she recalled. She later debuted there in a production of La Cenerentola for children and as well performed in Il barbiere di Siviglia.
The familiarity and warmth she felt upon returning to La Scala were particularly meaningful. “During these two years, which were the busiest time of my life, I became friendly with the theatre staff – the receptionist, doorman and people at the canteen – they became like family,” Wakizono said. “What made me happy this time around was that many people remembered me and welcomed me, saying how pleased they were to see me return.” She added that she felt a newfound emotional maturity, allowing her to appreciate the institution with a fresh perspective.
Performing at La Scala, Wakizono explained, isn’t as intimidating as one might expect. “From the auditorium it looks huge, but when you are on stage, it doesn’t seem so large. Every theatre has its own acoustic characteristics, and I know some singers identify La Scala a difficult house to sing in, but I don’t. Since my days as an academy student, I’ve always felt a special energy on the stage, as if the theatre itself is cheering me on.”
Wakizono’s dedication to her craft extends beyond technical skill. She recounted a challenging performance of La Cenerentola in Sardinia, where she battled laryngitis during rehearsals and was forced to speak her lines during the final rondo. Despite her distress, the enthusiastic response from the audience, particularly the children in attendance, was profoundly moving. This experience led to a pivotal realization, inspired by her mentor, Alberto Zedda. “Zedda replied, ‘it was perfect because you were imperfect.’ I realised that I was arrogant to think I could be perfect, and that an artist’s mission is to pursue perfection even while knowing it can never be fully attained.”
Since moving to Italy in 2013 after studying at the Tokyo University of the Arts, Wakizono has established herself as a leading interpreter of Rossini and bel canto repertoire, celebrated for her exceptional agilità and rich mezzo-soprano voice. However, she is now actively expanding her repertoire, embracing roles in early Verdi, French opera, and even German Romantic works.
Her upcoming performances include Fenena in Verdi’s Nabucco at the Cologne Opera, Charlotte in Massenet’s Werther at the New National Theatre in Tokyo, and Stéphano in Gounod’s Romeo et Juliette at the Opera di Roma. She is also scheduled to perform Urlicht (from Mahler’s Second Symphony) and Octavian in Richard Strauss’s Der Rosenkavalier at the New National Theatre, Tokyo, next year.
“Personally, late Romantic opera has been my favourite,” Wakizono confessed. “I’ve always wanted to be able to sing Verdi. But in my teens and twenties, I lacked technique and my voice wasn’t mature. With late Romantic opera, you have to immerse yourself emotionally, and when I was young, I just got swept away by that emotion, by the sheer force of the music, and the result was disappointing. So, I decided to aim to sing Verdi by my forties.”
She believes her voice is particularly well-suited to French repertoire, noting, “My voice has a certain darkness of tone, a melancholic quality, and I think this suits French repertoire. I noticed this when I sang the child in Ravel’s L’Enfant et les sortilèges, although it is a lighter role than Charlotte and closer to Rossini.”
Wakizono is well-prepared for her role debut as Charlotte in Werther, already familiar with the character’s arias from her time at music college. She views Charlotte as a complex and compelling figure. “Compared to Goethe’s novel, The Sorrows of Young Werther, I would say that in Massenet’s Werther, the characters are more distinct and more human. And I think Charlotte plays a more important role than in the novel. For me, Werther embodies nature and freedom, and Albert embodies society and discipline, including the society Charlotte lives in and her family. And all humans inherently have this fundamental dilemma. It’s precisely because we possess both elements that we are human, and You can’t choose just one. So, Charlotte is torn between the two, and this fragility is what makes this work elegant.”
She continued, “In the opera, Massenet takes this heavy topic, which Goethe handles quite heavy-handedly, and expresses it with something incredibly soft and sensual. That’s what makes the opera even more captivating. And he shows us that human essence is beautiful, no matter what. This is why this work has endured – because it truly captures this essence so magnificently. I’m sure Werther will become one of those works I want to sing not just for this debut, but time and time again.”
The New National Theatre, Tokyo, holds a special place in Wakizono’s career. Since her debut there as Donna Elvira in 2019, she has become a frequent performer, even during the pandemic, taking on roles such as Rosina (in 2020 and 2025), Cherubino, Angelina (both in 2021), and Meg in Falstaff (2023). “It’s the theatre that laid the foundation for my love of opera early on. When I was a student, I saw many productions at the NNTT; I saw my first Wagner there and Richard Strauss’ Elektra, Salome and Der Rosenkavalier too, and I would read the friends’ magazine. I also saw operas such as Wozzeck and Lady Macbeth of Mstensk – operas you really need to experience live to appreciate fully. Some of the productions that I later took part in such as Le nozze di Figaro and Il barbiere di Siviglia I first saw as audience member.”
“The path of an opera singer is incredibly lonely and often difficult,” she reflected. “There are times when you just don’t know which way to go. You are subjected to a lot of criticism, which comes with the territory of being in the spotlight. But in the midst of all that, coming back to the NNTT, I feel accepted and it has become a home-like place for me over the past few years. To have that kind of place is truly a blessing.”
Looking ahead, Wakizono remains open to new possibilities. “Hopefully I’ll secure to sing major Verdi roles. The most realistic one is Eboli in Don Carlo. And then if my voice expands in the lower direction, then roles such as Amneris (Aida) or Azucena (Il Trovatore) may reach into sight. But if my voice expands higher, then maybe Lady Macbeth (Macbeth) or Abigaille (Nabucco). Still, it will depend on which direction my voice takes, and maybe it won’t be Verdi at all! Nowadays I’ve decided not to rule anything out.”
However, she has no intention of abandoning the Rossini repertoire that brought her initial acclaim. Inspired by her teacher, Mariella Devia, who continued to perform bel canto roles throughout her career, Wakizono plans to maintain these roles alongside her expanding repertoire, recognizing their importance in maintaining vocal health and technique.
Aya Wakizono will perform in Massenet’s Werther at the New National Theatre, Tokyo, from May 24th to 30th, 2026.
See upcoming performances by Aya Wakizono.
See upcoming events at New National Theatre, Tokyo.
This article was sponsored by New National Theatre, Tokyo.
