Despite its very small population, Albania has contributed many breathtaking voices to the operatic stage – such as award winning Ermonela Jaho, Inva Mula, a formidable talent on stage as well as being the voice of Diva Plavalaguna in one of the most famous scenes from The Fifth Element, and Saimir Pirgu.

Discovered by Claudio Abbado, at age 22 Pirgu made his principal role debut as Ferrando in Così fan tutte at Salzburg in 2004, the youngest tenor ever to do so. Aside from his radiant vocal quality and carefully honed skill, Pirgu says there was a third factor that secured his opportunity. He says: ‘In Così, to fool their lovers they dress as Albanians. He [Abbado] said, “I’m curious to know what it sounds like sung by an Albanian”. I sang a few lines and he said it was made for me, so I auditioned for the role.’

Born in Elbasan and trained in Bolzano, Pirgu saw the Three Tenors perform in Albania in 1999 – and 10 years later he was singing Rinuccio in Gianni Schicchi at the Metropolitan Opera in New York. At present, there isn’t a major house Pirgu hasn’t sung a principal role at.

Before Abbado, Pirgu’s path was influenced by another pillar of opera. When studying in Italy he had the chance to sing for Pavarotti: ‘I was meeting the greatest tenor ever and he was teaching me the technique when I was 19, 20.’ It was only a few years later, as a young artist, that he was surrounded by the most influential singers of the age. ‘I was singing with Ruggiero Raimondi, Simon Keenlyside – Thomas Allen in Salzburg was my Alfonso, Helen Donath was my Despina. I just took it all in, and then later I realised that I’d learnt so much just being with those people on stage.’

Pirgu describes these formative years as the necessary foundation for him to build an international career that has already spanned two decades. He is continuing to flourish, with his 2025 schedule already full and his second album Saimir released on Opus Arte in October 2024. Guided by the operatic greats who mentored him from a young age, he was encouraged to learn slowly, pay attention to the quality and health of his voice, and have patience. ‘When I was 22 singing Mozart with Claudio, I could not have done Wagner,’ he says. ‘I have spent 20 years listening to the greatest people in the industry in order to improve myself, and this should be normalised. Our society has changed and we move really fast. I want to have another 10, 20 years following my own ideas at a slower pace.’

Pirgu not only wants this tempo and supportive environment for himself, but young singers who are coming up today – an attitude he formed from those who helped him. ‘It was his [Abbado’s] priority to help the younger generation of musicians. He knew that with art you can change realities and change futures. Now I realise how important it is to give a future to our business.’ He calls for people in the industry to care for singers like he was cared for, to realise that young singers are doing their best in an ever-changing industry, and they need certain protections to keep themselves safe and healthy because they are, as he says, ‘the future for our theatres’.

With the relatively modern invention of young artist programmes, it is no longer the case that there is one new voice surrounded by the greats, but many of them as a cohort. Because of this, Pirgu says it’s more important than ever that young singers look back towards the golden age, to learn opera’s history, and treasure older recordings so that the culture is not lost. Another belief he formed from his experience is that young singers and audiences allow voices to develop over time. ‘You can have a good intuition of the music when you’re young, but you cannot be Callas. Even Callas was not Callas when she was young – she became Callas. In her younger recordings she just sounded like everyone else. We must give the younger generation time. It’s not about having a beautiful voice. It’s how long you can sing beautifully; how much you care about your instrument.’

Albania contains a fascinating mix of cultures, alongside something that is undeniably and fearlessly itself, which perfectly encapsulates Pirgu’s character and musicianship. He is a singer without a box. Starting his career with Mozart and bel canto and eventually transitioning into Verdi and Puccini, he was regarded as the premier tenor for the Italian language. However, he has persistently demonstrated his command of language and different sound-worlds. ‘When I did Jenůfa in Copenhagen and Król Roger in Polish, every critic was surprised. It’s not so automatic that people would think I would do these things, but they don’t realise it’s normal, I should sing these roles!’

Pirgu talks about his career with passion. He is a consummate musician who describes something inside his blood that awakens with opera. He describes with passion how, ‘If you have a dream, you need to resist the comfort of the easy option. The necessary sacrifice of a normal life is a good sacrifice. I’m having a wonderful life.’

He is not just doing it for him, he says his priority now is for more Albanian singers, and more access to opera for Albanians. The National Theatre of Opera and Ballet of Albania does three productions a year with a tight budget, help from neighbouring Italian companies, and a passion for nurturing appreciation for the artform in the country. Pirgu serves as an inspiration and advisor to young Albanian singers, and singers from smaller nations, like Kosovan soprano Elbenita Kajtazi, with whom he performed La bohème. Pirgu, who now lives in Italy, returned to Albania to perform Cavaradossi in Tosca, where the adoration in the room was palpable.

‘I want to sing for longer, but being here is more important. For my country, and the new dreams coming.’ ON

Saimir Pirgu’s album Saimir is out now on Opus Arte

This article originally appeared in the Spring 2025 issue of Opera Now. Never miss an issue – subscribe today