―It has been twelve years since your last appearance at the New National Theatre Tokyo in the New Year's Gala in 2008. What are your memories of NNTT?

I have more memories of my first appearance at the NNTT, which was the production of Les Contes d'Hoffmann in 2003, because my stay in Tokyo was much longer. Philippe Arlaud's production was delightful and magical, and I was totally captivated by it. At that time, the role of Antonia was still new to me - until then I had been singing mostly Handel and Mozart roles - so initially I was a bit overwhelmed by the large-scale orchestra and the size of the pit at the NNTT, but once on stage I found the acoustics fantastic and I was able to sing with ease. We also had Elina Garanča in the cast (as Nicklausse) and we had a great time. As it was my first visit to Japan, I travelled to Nikko and Hakone, and enjoyed Japanese food. I have many fond memories of that time.

―You grew up in a musical environment. Could you tell us about your family?

My father, a court judge, and my mother, who studied medicine, met in an amateur vocal ensemble and got married. Neither was a professional musician, but there was always music at home. My elder sister is a lecturer in piano at the Hochschule für Musik in Berlin, and is a partner of my "Annettes DaschSalon" series in Frankfurt. One of my younger brothers used to be a classical-pop crossover artist, but has now given that up and teaches music at a school. He seems to have had a hard time in the pandemic. My youngest brother studied choral singing and is a choirmaster in Berlin.

―Originally you wanted to become a clarinet player. What made you switch to singing?

I wanted to become a clarinet player in an orchestra, but my teacher was very strict and never encouraged or praised me at all, so I began to think I was not good enough to become a clarinet player. Meanwhile, I always liked to sing and used to sing in church, and I thought I wouldn't have to practise as much and it would be easier, so I decided to study singing. It was only later I realized that singing wasn't easy at all!

―Nowadays you are sought after by opera houses and music festival all over the world. How did you develop your beautiful voice?

Singers are like athletes, and every time we sing, we want to sing better next time. I always try new things, and try to develop my voice further. Also, female singers go through physical changes. For example, we undergo hormonal changes with pregnancies and age, which I think is a beautiful process, and I've tried to develop my voice through that process. For instance, ten years ago I wouldn't have been able to sing the Marschallin.

―In April, you will make your role debut as the Marschallin at the NNTT. How do you see this role?

For me, the Marschallin is one of the most important and most profound roles in the operatic repertoire. In the opera, she grows older and undergoes changes, and eventually she lets go of her lover. The role seems to embody the life of a woman, and I feel an inner strength in her. Strauss's marvelous music communicates the emotions of the Marschallin. It's always special to stage this opera.

―Hoffmansthal's libretto of Der Rosenkavalier is full of beautiful lines. Which is your favourite?

I have many favourites, but if I had to choose one it would be the Marschallin's words, "ob ich in den Prater fahr'" (whether I will go to the Prater) at the end of the first act. She probably regularly visited the Prater, and the music here is so nostalgic and so Viennese. Just before she says "I will go to the Prater", she also says "I will go to church, and then visit my uncle...". I can understand her feelings well. I also currently live in Vienna and often take my children to the Prater. The scene evoked by these words resonates with me closely, and it is one of my favorite scenes.

―The Marschallin appears in Act I and at the end of Act III, but does not appear at all in Act II. Do you think her inner feelings have changed between the opening scene and the end of the opera?

Of course. In the opening scene, she is like a young girl flirting with Octavian, probably without a corset (and maybe even naked). But as time passes, she reflects on her social status, which she decides to retain. In the third act, she shows a resolute attitude; she gives up her young lover and tries to accept that she is no longer young. As a woman, this is a highly courageous act. In this opera, the Marschallin lives through the various stages of a woman's life from a young girl flowering into an attractive woman, and then the gradual loss of her beauty with age, and how differently men see her in each stage.

―Undoubtedly the highlight of Der Rosenkavalier is the trio from Act III, sung by the Marschallin, Octavian, and Sophie. What do you focus on most when singing the trio?

The music of this trio is truly masterful. The important thing is to listen carefully to the other two singers. Obviously I need to sing accurately, but the balance between us is crucial, so we need to rehearse a lot. It's certainly challenging, but I hope it will come across as an expression of our heightening emotions, not as a struggle with the musical challenges.

―You have produced many imaginative projects such as your DVD "Die Gretchenfrage - The Crucial Question" (2011, Munich), in which you bring together songs on the theme of Gretchen - Faust's love - by Schubert, Schumann, and Berlioz, and also your ongoing "Annettes DaschSalon" series in Frankfurt. How do you come up with these ideas?

I always have several ideas in my head. Often the ideas crop up during the intermissions at concerts, during walks, or when I'm at art exhibitions. I have many new projects coming up. One of them is inspired by Hoffmannsthal's beautiful poem Vorfrühling (Early Spring). If there is a Japanese translation of the poem, please have a read.

―Do you have a message to Japanese opera fans?

I am grateful to the NNTT for inviting me to sing the Marschallin in Tokyo, a role which I have been waiting and preparing to sing for a long time. It's a great pleasure for me. I am looking forward to seeing the Japanese opera fans again, who I know are hugely knowledgeable and emotionally so responsive. Please come to the theatre!