On the evening of April 21, the world-famous Latvian operiva Elīna Garanča gave a solo concert at the Latvian National Opera. Karel Marks Šišons, the singer’s wife, a favorite of the Latvian audience, was at the conductor’s desk of the Latvian National Opera Orchestra, but the live broadcast of the concert was to be enjoyed in the “Classic” wave. The day before this beautiful event, Inta Zeggnere met the singer at the White House.
Inta Zeggnere: The 2015 solo program included Mozart and Rossini. And then you said that the big leap for you will be Santuca. And if you still sing Eboli, you will be very happy. This year in the concert program we see Chile’s “Adrian Lecuvre”. What could this signal to us?
Elīna Garanča: This could signal that I am in the final stages of my development because
with the sung role of Kundri, Wagner ‘s “Parsifal” voice development is already limited. And I have the feeling that I’m currently pedaling to the floor – at a speed that will allow me to squeeze all the last leftovers out of my voice for the next ten to twelve years.
Of course, there is a dramatic repertoire that is exciting and enticing – it must also be sensibly retained, endured and sung so that I can still develop it for the next ten years, but I am in the final straight in terms of my development, also in terms of purely technical ability and voice.
“Samson and Dalila” will be in Covent Garden, London, and you will return to the role of Dalila. But it doesn’t sound too good – it’s about pedaling to the floor and the last leftovers.
But be realistic!
But isn’t it the case that, in addition to vocal art, which we don’t talk about at all, you also have the talent to find your image and your approach to every role? I remember you once said about Dalila that you will never be as dramatic as Obrazcova – that you don’t have to shout to get the effect, you can sing more lyrically and you can find the colors of your voice.
That’s right, yes. But if you look at the mezzo-soprano repertoire, after Eboli, Santuca and Amnerisa, which I will finally sing in almost half a year, there is practically nothing left after Dalila, Kundri and some other Verdi operas. Azuchen could still be sung, this one is still in Wagner, but there is nothing more than that!
Of course, there are modern operas. There is Bartók’s “Duke’s Blue Castle” – a well-known musical experiment. But then it just happens to be repeated, and I really don’t like to repeat – that’s why I’ve removed a lot of parts from the lighter romantic repertoire, because I just wasn’t interested in singing Romeo from “Monteci and Capuletti” and lying to myself, because – well which I am no longer a boy …
I think that in a while the same fate will befall Carmen, Dalila and Eboli – how many times can I sing in the productions? And in the end, you have to look at the real situation: well, you don’t want to sit away from home for six weeks, preparing a production for an opera that the director may be going to for the first time. It’s a new America for him, but you’re discovering it with him for the sixth time – It just gets tired. So I mean –
I really want to experiment with these few more parties in front of me and see what it does to me, my voice and the opportunity for my artistic development, but now it will be enough.
Bartoks is also on your solo concert program.
Yes, and very soon, in May next year, this production is scheduled for the Naples Opera. This will be Krzysztof Varlikovski’s production, which I saw in Paris – very impressive, like all his productions. In terms of vocals, it is not as complicated a party as I have sung so far, but it will play a very interesting role in the acting and psychological plan.
Thank you very much for pampering us, because we were lucky enough to listen to your concerts at the National Theater last year, there were still solo concerts with pianist Malcolm Martino, and we were very happy to see you on screen or when the prize is received. ” Kilogram in culture “. You are present in our lives all the time. Immediately, on May 1, there will be a European concert in “Big Amber”.
It came very unexpectedly –
A spokesman for the “Berlin Philharmonic” wrote to me asking if I would see an opportunity to attend the concert. He wrote that it has not been 100% confirmed yet, but it is a matter that it could take place in Liepaja’s “Big Amber”. And I said yes!
We found out who will conduct and we were also looking for a relevant repertoire. I am very, very proud and extremely grateful to be able to take part in this concert, because both the political and cultural political situation in the world today is such that this concert is of great importance. Maestro has chosen Luciano Berio’s folk songs for my repertoire – it is eleven songs in different languages, different shades and different basic thoughts that each of these songs sends. I think it is extremely important at this very time that we are living. Europe unites somehow… I don’t remember the last time a soloist-singer would have performed at a European concert. And has it been at all? So it is a huge responsibility for me, and it will be a live broadcast. Of course, the emotional and psychological pressure is great, but I like challenges, I really like this cycle and I adore Kirill Petrenko, whom I have known since 1999, when he was its principal conductor at the time. Of course, there is no need to talk about the “Berlin Philharmonic” at all. And the fact that this is happening in Latvia for the first time and is happening in “Big Amber” – it is something unique! I think that this is an extremely important event for Latvian culture and Latvian music in the context of European awareness.
The full text of the conversation will soon be available on the lsm.lv portal!
–
Latvijas Radio invites to express its opinion on what is heard in the program and supports the discussion among the listeners, however, reserves the right to delete comments that violate the boundaries of dignified attitude and ethical conduct.
