Štefan Margita: Rozloučení s Národním divadlem a kariérou | Aktuálně.cz

Renowned opera singer Štefan Margita is preparing for a carefully considered farewell to the operatic stage. In February 2026, he will perform the role of Loge in Wagner’s Das Rheingold at the National Theatre, marking the conclusion of a celebrated career that has taken him from Košice to the world’s most prestigious venues, including the Metropolitan Opera, La Scala, and San Francisco Opera.

A Defining Role and a New Collaboration

Margita describes Loge as a character that “won’t let you go,” a figure aware of impending doom who continues to play the game regardless. This final performance will be alongside Adam Plachetka, a fellow celebrated singer who will be making his Wagnerian debut as Wotan. Plachetka notes that while they have been long-time colleagues and friends, this will be their first time sharing the operatic stage.

Bridging Opera and Popular Culture

Margita’s impact extends beyond the traditional opera world. He is credited with bringing opera to a wider audience, a feat significantly aided by his wife, singer Hana Zagorová, whose fanbase developed an interest in his work. However, Margita emphasizes that he established himself internationally before becoming well-known in the Czech Republic.

Despite having tens of thousands of followers on social media, Margita doesn’t identify as an “influencer,” preferring to leave the management of his online presence to an agency. He observes a curious trend: posts about his personal life, like a Christmas photo from New York, garner more attention than announcements about his performances at the Metropolitan Opera, suggesting audiences are drawn to behind-the-scenes glimpses.

A Philosophy of Vocal Preservation

Margita attributes his longevity in a demanding field to a careful approach to his craft. He recalls advice from the legendary Mirella Freni: “The most important thing is to know how to say no.” This means declining roles that, while tempting, could potentially harm his voice in the long run. He stresses the importance of allowing the voice time to rest and recover.

His advice to young singers is that rest doesn’t mean silence, but rather proper vocal hygiene. He notes a common mistake among emerging artists is performing two shows consecutively without adequate recovery time. This disciplined approach has allowed him to excel in roles by Wagner and Janáček across major opera houses, including the Vienna and Bavarian State Operas.

He recalls a particularly enthusiastic reception in Japan following a performance of Janáček’s Její pastorkyně, where the audience continued to applaud even after the cast returned for a second bow in casual clothes.

Looking Ahead: Concerts and a Broader Appeal

Margita’s departure from opera doesn’t signify retirement. He plans to focus on concerts and song recitals, which he finds more intimate and liberating. He also intends to undertake larger projects aimed at attracting new audiences to opera, such as a performance at the O₂ arena, offering a “taste” of opera to those who might not typically attend a traditional opera house.

His hope is that these performances will inspire audiences to explore opera further, potentially leading them to venues like the National Theatre. He sees his role as building a bridge between the world of opera and those who are yet to discover it.

Frequently Asked Questions

What role will Štefan Margita’s final opera performance be?

Štefan Margita’s final operatic role will be Loge in Wagner’s Das Rheingold at the National Theatre in February 2026.

How did Hana Zagorová contribute to Margita’s career?

Hana Zagorová’s fanbase became interested in opera through their connection, helping to broaden Margita’s appeal to a wider audience.

What advice does Margita give to young singers?

Margita advises young singers to prioritize vocal rest and recovery, emphasizing that true rest isn’t simply silence, but proper vocal hygiene.

As the curtain falls on his operatic career, will Štefan Margita’s approach to bridging the gap between traditional opera and new audiences inspire a new generation of performers and patrons?