Where did your love of opera come from?

I have always loved theatre and costumes since I was very little. I dived into classical music when I started piano lessons at ten, and I was fanatical about Beethoven and Chopin. And at age 18, when I saw the movie about the famous 18th Century Italian opera singer Farinelli, with its beautiful atmosphere and tunes, I decided I wanted to be able to sing this amazing music. I did it out of passion and love, I never imagined becoming a professional opera singer one day.

Who are your role models in the opera world?

I’m a huge fan of Renée Fleming and Susan Graham, singers of today. But my heart beats quicker when I listen to the singers of the past like Virginia Zeani, Eleanor Steber, Claudia Muzio and Rosa Ponselle, just to name a few. Not only the voices, but the way they used them to express the emotions is a great inspiration to me.

You’ve already performed in lots of opera, do you have a favourite role?

I love singing the Countess. Generally, I’m at home in Mozart operas – through his complex psychological characters, the challenge is not only musical but emotional as well. But I have also had a lot of fun singing crazy women with a lot of elaborate "coloratura" music, such as Armida in Handel's Rinaldo.

I understand you performed with the Mahler Chamber Orchestra in the newly built opera house in Bahrain; how did that come about and what was it like?

This was a very interesting event, because most of the audience was not used to going to classical concerts. The opera house has just been built and the classical music culture in Bahrain is not as extensive as in Europe. I therefore had the opportunity to perform in front of people who were hearing opera for the first time with that gorgeous orchestra. Even after we started people were still walking in, talking and filming us with their iPads. But after three pieces, they started to pay attention and by the end they were a happy cheering crowd, it was just amazing.

You are currently performing the role of Countess Almaviva in Mozart’s opera, The Marriage of Figaro; do you have a favourite scene you can briefly share with us?

Oh yes, but there are so many. There is a wonderful little moment for the Countess with Cherubino, the page. There is clearly some spark between them. Then there is the fighting with her husband – it’s so much fun to sing that part. I like to be on stage with my colleagues, where I have interaction and reaction! That’s the nice part of Mozart’s operas, they are ensemble pieces. We’re a team!

Why do you think The Marriage of Figaro is so popular?

Because it is a piece that everyone can identify with in one way or another. It is not just a beautiful piece of music, but also a great piece of theatre. The characters are all well developed and I’m sure you know somebody as promiscuous as the Count or a witty girl like Susanna. And the interaction between them is just genius – the challenge, the danger, the love, the grief, the excitement. Like an elaborate soap opera, where you just need to know what will happen next.

Do you have any future plans that you can share with us?

I have some exciting roles coming up. I will be singing Konstanze in The Abduction from the Seraglio, Fiordiligi in Cosi fan tutte, and Donna Anna in Don Giovanni in the next two years – three more wonderful parts in Mozart's operas. I will also perform the Four Last Songs by Richard Strauss with orchestra this winter – a beautiful gem.

n Ana Maria Labin is appearing tonight at Newcastle Theatre Royal in Opera North’s new production of Mozart’s comedy The Marriage of Figaro – tonight and Saturday. Opera North is also performing Verdi’s La traviata tomorrow.

Box Office: 08448-11-21-21 or newcastletheatreroyal.co.uk