In February 2013 Corinne Winters created an absolute sensation in her operatic European debut when Peter Konwitschny’s starkly intense staging of Verdi’s La Traviata arrived at English National Opera. Vocally, physically, dramatically her Violetta (“the whore who gets all the best tunes” according to Konwitschny) was so “complete”, so unanimously greeted by superlative reviews, that it marked a highly significant arrival on the international opera scene. According to the American born Winters, twelve important contracts arose directly from that run of performances. In this exclusive audio podcast she talks to Edward Seckerson about life before and after the London Traviata; about growing up with rock and pop music and something close to a resistance of opera. She talks most eloquently about the development and health of her voice, of the support team of trusted advisors who help steer her choices. She is currently back at ENO in Terry Gilliam’s hotly anticipated staging of Berlioz’ rarely performed Benvenuto Cellini which she believes further ratchets up the excitement and pushes the possibilities of operatic staging. Her Royal Opera debut beckons in 2016 – a new production of a challenging classic. 

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