Opera singer Pumeza Matshikiza takes center stage in Italy as Aida

South African soprano Pumeza Matshikiza is showcasing her musical range at the prestigious Teatro Greco in Siracusa, Italy.

The 46-year-old opera singer's performance in Aida – one of the most beloved masterpieces in opera – is driven by a deeper personal connection to the titular role.

Her performance stages as part of the ongoing Festival Lirico dei Teatri di Pietra, marking Matshikiza’s biggest operatic appearance in Italy to date. Matshikiza talks to Sowetan about her career milestone:

How was it like to step on that historic stage?

I had no time to think at that moment – only to be present and focused on delivering a great performance. It was a huge honour and slightly daunting to sing such an iconic role for an Italian audience in Italy. But I trusted my preparation. I had done the work and it was now time for the music to speak. Interestingly, I’ve sung for an even bigger crowd before – 14,000 at the Hollywood Bowl. Still, Siracusa was unforgettable because of the setting, the energy and what the role means to me.

Why does Aida’s story resonate with you?

Aida is a princess stripped of everything – her home, her title, her freedom. She carries the pain of longing and displacement. That feeling is very real to me. I left SA to follow my dream of becoming an opera singer and while it has taken me to incredible places, it also comes with a deep sense of longing. I understand her sacrifice. Choosing a path that takes you far from home – whether for love or your calling – creates this tension between where you are and where you come from.

From performing in Cape Town to the Hollywood Bowl, what does it mean to you?

Life is truly fascinating. When I look back at where I come from – singing in school choirs in Cape Town townships – it sometimes feels like magic that I’ve ended up performing in places such as the Hollywood Bowl. But it’s not just magic. It’s resilience. I’ve always believed that direction matters more than speed. I’ve built my journey step by step, with patience, discipline and a clear sense of purpose.

How important is representation in classical music?

Representation is always crucial, especially for those of us who come from communities that were historically silenced or excluded. So many people had to fight for the space I now get to occupy freely. That’s not something I take for granted. We must continue educating others, because the freedoms we enjoy today are not guaranteed. Without vigilance, they can be reversed.

How do you bring your SA heritage into your performances?

SA has been doing an exceptional job of exporting world-class singers. Post-apartheid, a door opened for black singers and we’ve stepped through it with pride. But I do wish there were more support for artists who want to stay and perform in SA. Across the continent, our country leads in opera and that says a lot about the depth of talent we have.

How do you maintain that perfect blend of classical and traditional African music in your albums?

It wasn’t easy in the beginning. It’s like asking a trained ballet dancer to do pantsula [dance]. The forms are very different. But over time, I found a way to honour both – to keep the operatic discipline, but stay authentic to who I am. That balance came with time, training and a deep understanding of both traditions.