Celebrated Czech tenor Stefan Margita will conclude his distinguished opera career in February 2026 with a performance of Wagner’s *The Rhinegold* at the National Theatre in prague. having graced stages from the Metropolitan Opera to La Scala, Margita’s farewell marks the end of a celebrated three-decade run in leading roles [[1]]. Beyond his artistry, Margita is recognized for his efforts to broaden opera’s appeal, a legacy he intends to continue even as he transitions to concerts and recitals.
Stefan Margita isn’t approaching his farewell to opera with sentimentality, but with a quiet sense of closure. The celebrated tenor views it as the right time to turn the page on a remarkable career.
In February 2026, Margita will take his final bow on the stage of the National Theatre in Prague, performing the role of Loge in Wagner’s The Rhinegold. It’s a symbolic full stop to a journey that has taken him from his native Košice to the world’s most prestigious opera houses, including the Metropolitan Opera, La Scala, and San Francisco Opera. Loge, he explains, is a role he’s long been associated with.
“It’s a role that doesn’t let go of you. Loge knows from the beginning that everything will end badly – and yet he continues to play the game,” Margita says. He’ll share the stage with another prominent Czech performer, Adam Plachetka, who will make his Wagnerian debut as Wotan.
“Stefan and I have been colleagues and friends for a long time, but we haven’t yet performed together on the operatic stage. I’m really looking forward to this production,” Plachetka, a leading Czech bass-baritone, added.
An Opera Ambassador, Thanks to Zagorová
Margita is a respected figure in the world of opera, but he also holds a special place in the hearts of Czech audiences for his ability to connect with those who might not typically attend the opera. He credits his wife, singer Hana Zagorová, with playing a significant role in broadening opera’s appeal.
“Her fans started to take an interest in opera because of us. And it continues to this day,” he admits. However, Margita is quick to point out that his success didn’t solely rely on his wife’s popularity; he established himself internationally long before becoming a household name in the Czech Republic.
Despite having tens of thousands of followers on social media, Margita doesn’t identify as an influencer. “That term doesn’t really resonate with me. An agency manages my social media; I wouldn’t know how to do it myself, and I wouldn’t even enjoy it.” He’s also observed a curious paradox: photos from a Christmas trip to New York garner more attention than announcements about performances at the Metropolitan Opera. “People are more interested in what goes on behind the scenes than the performance itself.”
Margita believes his popularity beyond traditional opera circles comes with a responsibility. “I feel a sense of obligation. I don’t want to provoke just for the sake of being seen. I’d rather try to bring joy to people.” This desire to connect authentically may explain his down-to-earth public persona – free of pretense and shock value.
He emphasizes that success in opera requires discipline. “The most important thing is to learn to say no,” he recalls, remembering advice from legendary soprano Mirella Freni. He specifically means resisting roles that, while tempting, could ultimately harm his voice. “The voice needs time, rest, and consideration,” he explains.
So how has he maintained a healthy voice for so long? Margita offers young singers one crucial piece of advice: “Resting your voice doesn’t mean being silent; mere silence isn’t good vocal hygiene! Yes, it’s possible to sing two performances back-to-back, but then your voice really needs to rest and not sing anything else. That’s one of the most common mistakes young singers make, a mistake I fortunately avoided in my youth,” he says.
This careful approach has allowed him to continue performing at a high level, becoming renowned for his interpretations of roles in operas by Richard Wagner and Leoš Janáček, which he has performed at leading opera houses around the globe.
“In Japan, they were literally shocked by our production of Janáček’s Jenůfa – they were surprised that something like this could even exist. After the curtain call, we went to change, and when we returned, the audience was still applauding, and we were taking bows in our street clothes. It was that kind of success!” he recalls.
Margita’s departure from opera doesn’t mean he’s retiring from performing altogether. He plans to focus more on concerts and song recitals, which he finds more intimate and liberating. He’s also envisioning larger projects for a wider audience – including a concert at the O₂ arena, where he plans to celebrate his jubilee with a “taste” of opera for those who might otherwise stay outside the theater doors.
“I’d be happy if people said, ‘I liked that, I’ll go see Margita again.’ And that might lead them to the National Theatre,” he says. Perhaps this is Margita’s greatest contribution: building a natural bridge between the world of grand opera and an audience that is still discovering it.
When the curtain falls on The Rhinegold at the National Theatre, it won’t be the end of his voice, but rather a calm and dignified farewell – from a singer who has proven himself on the world stage while remaining humble, dignified, and approachable.
