Soprano Inva Mulla-Tchako includes a well known international profession, though she actually is best known towards the world most importantly for one from the strangest operatic portrayals in film background. The vocalist (whose name is usually rendered by numerous resources as Inva Mula Tchako, Inva Mulla Tchako, Inva Mulla-Tchako, and Inva Mula) analyzed (performing and piano) in her indigenous town of Tirana, Albania. In 1987, she received the first reward in the Vocalist of Albania competition. Following the fall from the Stalinist authorities of Albania, she could happen to be Bucharest in Sept 1991, where she was a prizewinner in the George Enescu Competition. She received The Grand Prix Madama Butterfly in Barcelona in 1992, and a respected reward in the 1st Plácido Domingo International Tone of voice Competition in-may 1993. This resulted in her singing using the well-known tenor within a concert on the Opéra-Garnier in Paris, a meeting recorded in the Sony Classics label and released beneath the name The Initial Plácido Domingo International Tone of voice Competition Gala Concert which she sang Qui la voce sua soave from Bellini’s I Puritani, and duets from L’elisir d’amore, Don Giovanni, and La Traviata. Mulla-Tchako and Domingo repeated this program in Brussels, Munich, and Oslo. All of this attention resulted in invitations to execute throughout European countries and somewhere else. She won wide-spread acclaim for amazing vocal purity and a protected, refined technique, and musical projection of the sustained line. She actually is a lyric soprano with solid skills in bel canto and coloratura parts, and it is valued on her behalf shows in Mozart. Her range is certainly wide more than enough that she also sings the lighter Verdi jobs, such as for example Nanetta in Falstaff and Gilda in Rigoletto, but also Violetta in La Traviata. Various other jobs in her repertory are Antonia in Les contes d’Hoffmann; Micaela in Carmen; Tanit Zerga in Falla’s L’Atlantide; both Musetta and Mimi in Puccini’s La Bohème; Nedda in Pagliacci; Rosina in Il barbiere di Siviglia; Norina in Don Pasquale; and Leila in Bizet’s Les Pecheurs des Perles. However the component that produced her a cult name, beyond your group of opera followers, was her voicing from the role from the Diva in Jean-Luc Besson’s film The Fifth Component. She sang an aria from Donizetti’s Lucia di Lammermoor (directly) as well as the Diva Dance (with, presumably, digital aids on humanly difficult high records); her performing was mimed on stage by French celebrity Maïwenn Le Besco as Diva Plavalaguna, an extremely tall, blue space alien with eight tentacles. Inva’s profession has continued since that time, with appearances in a number of opera homes in European countries (including La Scala in Milan, the Ravenna Event, the Verona Industry and Theatre, Marseilles, Paris Country wide Opera, Montpellier, as well as the Vienna Condition Opera), in Turkey, and in america in the Chicago Lyric Opera, as well as the LA Opera. The second option has asked her back again on several events. She sang the part of Lisette in Puccini’s La rondine with Antonio Pappano performing, an EMI launch that received The Gramophone Award as Record of the entire year, 1997. She makes her house, and bases her profession, in Paris.