Also in 1964, Cortez graduated from the Bucharest Conservatory, making her debut in a staged opera production - Gluck's Orphee et Eurydice. Next year, she was triumphant again, this time in the s'Hertogenbosch International Singing Contest, where she obtained the Great "Kathleen Ferrier" Prize. She made her debut in Saint-Saens' Samson et Dalila opposite Ludovic Spiess in Toulouse the same year and she returned as Carmen one year later. In the following period of time, Viorica Cortez established herself as one of the most respected and recognized young Romanian opera singers, though in her native country she appeared mostly in concerts and recitals. After being hired by the Romanian National Opera in Bucharest in 1967, this changed, as she toured the country and Europe (the former Yugoslavia, France, Greece and especially Ireland), making her debut in Ambroise Thomas' Mignon, Giuseppe Verdi's Don Carlo, Aida and Il Trovatore, Gaetano Donizetti's La Favorita and Jules Massenet's Werther.
In 1967, she won the Grand Prize and the Golden Medal of the International "George Enescu" Contest in Bucharest, ending in glory her competition itinerary. Already an established name in Romania, she toured France alongside Arta Florescu (in Aida) and made her Choregies d'Orange debut (as Amneris from Aida). The same year, coming from Dublin, she auditioned for the first and only time in her career for Sir Georg Solti, who was looking for a Carmen in the London Royal Opera House's new production. Apparently, after hearing Cortez, he declared: "This IS the Carmen we've been looking for. We found HER". The highly attained in-situ debut occurred in 1968 and, although the critics were not unanimously favorable to this newcomer, the performances were hailed as one the season's most notable events. For Viorica Cortez, that meant not only the launching in a new dimension of her professional career, but also the encounter of Sandor Gorlinsky, the legendary agent who added her on his star-studded roster.
More capital debuts came. While maintaining a particular relationships with French opera houses (Toulouse, Rouen, Bordeaux, Avignon, Nice) and still a member of the Bucharest Opera, Cortez sang her first performances in Barcelona (Gran Teatre del Liceu, La Favorita, 1969), Vienna (Staatsoper, Don Carlo, 1969), Salzburger Festspiele (Carmen, 1969), Naples (Teatro di San Carlo, Norma and Aida opposite Leyla Gencer) and Paris (Grand Opera, Carmen, 1970).
Cortez's American debut occurred in 1970. She performed in Philadelphia, Pittsburgh, then finally New York, where she first appeared alongside Martina Arroyo in Verdi's Messa da Requiem in Carnegie Hall. 1971 was a crucial year. Both La Scala and the Metropolitan scheduled her, the first in Samson et Dalila, the other in Carmen. In Milan, succeeding Shirley Verrett's Dalila, Cortez was asked by the opera management and conductor Georges Pretre to consider an extra performance, an exceptional decision of the theatre following the enormous success of her first appearance with the house. In New York, Richard Tucker (her Don Jose for the debut night) hailed her as one of the most attractive and convincing Carmens he has ever sung with.
From then on, Cortez's career covered every major opera house in the world. Claudio Abbado invited her for the Verdi Requiem at La Scala, along with Placido Domingo and Nicolai Ghiaurov. The celebrated Bulgarian bass was her partner for Massenet's freshly revived opera, Don Quichotte, both in Paris and Chicago, the Parisian mise-en-scene being assigned to Peter Ustinov. Always in Chicago, Cortez was a commanding and electrifying Elisabetta in Maria Stuarda opposite Montserrat Caballe (1973). The friendship and mutual respect between the two divas represented a milestone in the Cortez's career. For Norma and Maria Stuarda, as well as for Don Carlo and Il Trovatore, the Catalan soprano and the Romanian mezzo-soprano were scheduled together in Lisbon, Naples, Nice, Vienna, Cologne, Madrid and, of course, at La Scala (Norma, 1974) and at the Met (Il Trovatore, 1973).
In 1972, Viorica Cortez acceded to the Arena di Verona "hall of fame", interpreting Amneris opposite the Radames of Franco Corelli. In the following years, she would become a favourite of the notoriously picky audience of what is probably Italy's most demanding opera festival.
In 1975, having become a French citizen, she returned to her long-missed Bucharest for a recital at the Atheneum.
Cortez felt at home both in the Italian and French repertoire. She portrayed a rapturous Dalila (Teatro Sao Carlos, Lisabona - 1975, Grand Opera, Paris - 1978), a powerful, intense Azucena (Metropolitan, New York - 1973, 1977, 1978, Grand Opera, Paris - 1975, Staatsoper, Vienna - 1973, 1974, 1976, Teatro alla Scala, Milan - 1978), a fragile Charlotte in Massenet's Werther (almost always with Alfredo Kraus, who named her his "absolute favourite Charlotte"), a dramatic Eboli (notably in Vienna, Bordeaux, Lisbon, Bilbao and for La Scala Bicentennial - 1978), a delicate and interiorised Marguerite in Berlioz's La Damnation de Faust (Paris, Verona), and a sovereign and shining Amneris (La Scala, Milan - 1973, Arena di Verona - 1977, Metropolitan, New York - 1979).
Nevertheless, her repertory widened with every passing year. Surprisingly, she was a shockingly tempestuous Klitemnestra in Richard Strauss' Elektra opposite Birgit Nillson (Rome, 1971). She felt no boundaries or shyness in jumping from one composer to another, from mixing Monteverdi (L'Incoronazione di Poppea, Naples, 1976) with Giordano (Fedora, Bologna, 1977), Stravinsky (Oedipus Rex, La Scala, Milan, 1972, 1973, 1980) with Mussorgsky (Boris Godunov, Paris, 1980), Rossini (Tancredi, Martina Franca, 1976) with Lalo (Le Roi d'Ys, Nancy, 1979).
At the beginning of the '80s, Cortez's voice seemed to be slowly but certainly deteriorating. Critiques and objections became more and more frequent. Still, as the contracts were signed five years in advance, she still had to sing. She was forced to cancel some L'Herodiade performances in Avignon, some others in Marseille and she quickly searched for support besides her family and her vocal trainer. Completely healed, she returned to the stage after a couple of months, more cautious, more balanced, decided to abandon the tremendous turmoil of the past. She became quite selective in arranging her schedule. For almost 4 years, she was almost an exotic presence in Europe, due to her long-term Metropolitan engagements (Samson et Dalila - 1981, Il Trovatore, Les Contes d'Hoffmann, Adriana Lecouvreur - 1982, 1983, 1984). Still, she starred in some larger-than-life, star-directed productions in Paris (Nabucco, alongside Grace Bumbry and Sherrill Milnes - 1979, Jorge Lavelli's Oedipus Rex - 1979, Joseph Losey's Boris Godunov - 1980 or Sonja Frissell's Un ballo in maschera, alongside Jose Carreras - 1981).
In 1984, she was a vehement Klitemnestra in Regina Resnik's San Francisco Opera production of Elektra. She sang in Denver, Rio de Janeiro, Madrid, Bagdad, Tokyo, Osaka, Amsterdam, but she also returned to some beloved stages such as L'Arena di Verona (La Gioconda and Aida - 1988), Grand Opera, Paris (Herodias in Richard Strauss' Salome in the fascinating mise-en-scene of her dear Jorge Lavelli), Gran Teatre del Liceu, Barcelona (Il Trovatore, La Gioconda, Les Contes d'Hoffmann, Il Matrimonio Segreto - 1986, 1987, 1988, 1989), Teatro Comunale di Bologna (Un Ballo in maschera with Luciano Pavarotti - 1989). Still in 1989, she awed Paris once again, this time as La Star in Zygmund Krause's eponymous opera, directed by Jorge Lavelli. The former editor in chief of Opera International, Sergio Segalini, called her "diva assolutta".
Equally important, Cortez was able to sing in her native country again, after 20 years of exile. She appeared in numerous benefit galas and concerts, she gave recitals in Bucharest and Iasi, as well as opera performances ("Carmen" in Iasi - 1991, "Il Trovatore" at the National Opera in Bucharest - 1992).
A tragic episode marked Viorica Cortez's destiny at the beginning of 2001. Coming from Iaşi, the car her third husband was driving violently crashed into a tree, killing the driver and seriously hurting the mezzo-soprano. After almost six months of recovery, she returned to the stage (La Contesse de Coigny and Madelon in Giordano's Andrea Chénier in Sevilla), determined to pursue her career. Her comeback was emotionally highlighted by the Spanish press. Subsequently, as a confirmation of the very special relationship between the singer and the Spanish audience, she concentrated most of her career in Barcelona, Madrid, Sevilla and Bilbao, without neglecting offers that were still coming from Italy or France (notably a highly praised Old Baroness in Barber's Vanessa in Strasbourg). At the Gran Teatre del Liceu, she added to her repertoire a role she had been dreaming of since the 80s: The Old Countess from Tchaikovsky's The Queen of Spades. She reprised it in Madrid (Teatro Real, 2004). She later sang Buryovka in Janáček's Jenůfa in Barcelona (2005), where she also opened the 2007-2008 season as la Comtesse/Madelon. Again in 2008, Viorica Cortez made her return to the Monte-Carlo Opera (Starenka Buryovka in Janáček's Jenůfa). She also reprised one of her best recent characters, Madame de Croissy in Les Dialogues des Carmelites, for the opening of the 2008-2009 season at Teatro Campoamor in Oviedo, in the famed production of Robert Carsen. The performances were highly acclaimed by the press. Later on, she is scheduled to have her in-house debut with Teatro del Maggio in Florence (Cavalleria rusticana). In 2009, Viorica Cortez will star in the creation of a new opera (Une affaire etrangere) in Montpellier.
"Carmen du siecle" - this is what the French press was headlining in the 1970s. Without any doubt, Viorica Cortez was one of the most sought after Carmens of the 1970s and '80s. She sang the opera for 278 times, more than Gianna Pederzini or Giulietta Simionato, and, since her big Covent Garden break (1968), she relentlessly deepened the character, almost identifying herself with Merimee's and Bizet's heroine. The critics applauded her creamy, very extended voice, able to cover all three registers, her exquisite technique, her refinement in the French way of punctuating, as well as her breathtaking beauty and charisma on stage. With Carmen, Viorica Cortez gloriously entered the very exclusive club of opera stars. She sang the role at La Scala (1972, with Giuseppe di Stefano), Metropolitan Opera (1971, 1979), Royal Opera House, Covent Garden (1968, 1969, 1974), Grand Opera, Paris (1970), Staatsoper, Vienna (1970, 1971, 1973, 1976), Arena di Verona (1975, 1980), but also in Bordeaux, Marseille, Nice, Salzburg, Bilbao, Oviedo, Roma, Trieste, Bologna, Chicago, Napoli, Toulouse, Belgrade, Piacenza, Rio de Janeiro, Pistoia, Montreal, Lille, Avignon, Malaga, Genova, Philadelphia, Strasbourg, San Antonio, Seattle, Lisbon, Messina, Lausanne, Bucharest, etc. Her last "Carmen" was in her native Iaşi, in 1991.
There were many voices who objected that Viorica Cortez arrived too late in Western Europe and all the major recording labels had under exclusive contracts more famous mezzo-sopranos. Thus, Cortez had to content herself with sporadic recordings. The first international one, made for EMI France, was maybe another missed step: Mercedes (!) in "Carmen" alongside Grace Bumbry, Jon Vickers, Mirella Freni and Kostas Paskalis, under the baton of Raphael Fruhbeck de Burgos. By that time, Cortez had already sung the role at Covent Garden and in all France, being a demanded Carmen herself. She then had the chance of recording Azucena in "Il Trovatore" with Bruno Bartoletti and Maddalena in "Rigoletto" with Francesco Molinari-Pradelli, both operas being filmed for the German Television. A celebrated recording was that of "Il Cappello di Paglia di Firenze" by the world-famous film music composer Nino Rota. In 1977, Cortez recorded in Luxembourg her one and only aria recital, which won the Grand Prize of Academie Lyrique du Disque in France. It was later released as a CD. The lack of official recordings made Viorica Cortez always stay one step behind her illustruous colleagues Fiorenza Cossotto, Grace Bumbry, Shirley Verrett or Elena Obraztsova. Fortunately, the last decade brought, just like as in the cases of Magda Olivero, Leyla Gencer and Virginia Zeani, a flourishing of in-house live recordings: "Oberto, conte di San Bonifacio" (Bologna, 1977), "Aida" (Vienna, 1973, Denver, 1986), "Elektra" (Rome, 1971), "Norma" (Naples, 1973, Caracas, 1975), "Maria Stuarda" (Chicago, 1973), "Il Trovatore" (Paris 1975, New York 1978, 1981), "La Favorita" (Genova, 1976), "Don Carlo" (Milan, 1978), "Adriana Lecouvreur" (New York, 1983), "Gioconda" (Verona, 1988), "Suor Angelica" (Madrid, 1993), "Zaza" (Palermo, 1994), "La Fille du regiment" (Madrid, 1996), "Les contes d'Hoffmann" (Orange, 2002), "Jenufa" (Barcelona, 2005).
Viorica Cortez was married three times: first, with the noted Romanian sculptor Marcel Guguianu, then with the famous French composer Emmanuel Bondeville, former manager of the Paris Opera and Opera Comique and with the Romanian-born historian Adolf Armbruster. From the first marriage, the singer has one daughter - Catalina. The artist currently resides in Paris.