Next to the celebrations of its "first" 25 years of glorious career, we at the Voice Here we interviewed in exclusively to the great soprano Maria Dragoni:
Award Maria Callas was one of your first big artistic statements recognized. Giulietta Simionato, mezzo-soprano and great friend of Callas, said on that occasion that you embody what had been the art, the voice and the spirit of Mary. A memory of that moment.
Victory Award Callas, Simionato with the statements, I am shocked, most 'that emotion. The same thing occurred in the contest Bellini in 1981, the president of the jury was Souliotis. Even then there was talk of my striking resemblance to the Divine: I was only 22 years old and sang Casta Diva, directed by Ottavio Ziino. There was then set up a prize pool for me, more 'important Bellini of the same prize (worth more' in economic terms). So I was awarded the "Special Award Maria Callas."
Actually it all started a few years before the first test I did in a conservatory 17 years, where I sang Micaela. With the peremptory cast with which the phrase "here smugglers ..." I revealed the authority of my way to expose the recitative, so listening room a German wanted to sign me up for a movie at the cinema standard. I bought even the score, but I was a minor and the teacher forbade me to do so; sin, there is now a feature film of my norm just 17 years. The role of my destiny, in fact the greatest regret I have is not being able to affect standard with Karajan even though I had already signed the contract with Oldani father, since the master died the same year.
You made mention of Norma, a role that is very difficult as everybody knows, and you brought on stage many times during these years ... as well as other roles such as Bellini Sonnambula and Pirate, just as challenging ...
Norma is a difficult role for those who do not have the right voice for me it is not, nor are the works listed above. Instead, it is difficult to find a manager capable of directing it (only it is up to Muti), but the really bad thing is you do not know how to set up this work: I've only seen the royal ugly, except to Zeffirelli Callas, which unfortunately does not we have a full video (A real crime!).
You mentioned voice ... Undoubtedly, your distinctive voice can be described as "dramatic agility." Often the roles of Bellini and Verdi became the first footage of choice of opera singers with vocal abilities that have developed or dramatic sopranos of pure drama but could not resolve the steps or blooming of agility in a satisfactory manner. Why is it so difficult today to find a dramatic soprano voice of agility?
To be a dramatic agility necessary to have a basic dramatic voice, then the will to study just to be able to agility to perform roles, which include dramatic entries were written for, and that only later became the prerogative of the lyric-light (which today, again, you even dare to perform standard or Pirate. A real mess).
E 'in this sense that they are considered the only true heir of Maria Callas, because I followed his line, dramatic voice as I studied her, no genuine dramatic soprano did it, plus you have to start very soon . I hope in future there is some dramatic soprano with the same determination of Callas and mine for now we are two isolated cases.
Your footage is actually very broad and not limited the only music of the first 800 but ranging from Mozart to Puccini. What are the four characters that best represent your personality?
My repertoire ranges just because I loved the nature of a long study.
Needless to say, between the characters to suit me the four main protagonists are the works of Norma, Turandot, Nabucco and Macbeth. In practice the 4
warhorses Gina Cigna. Just as she pointed to his heir, even if my technique has allowed me to tackle tough roles even as Lucia, Amina, Puritans, etc..
Greatest dramatic soprano of the First World War with whom, remember, you also have studied the Turandot ... Continuing the discussion of singers of the past, what are the names of the past (but also the present) that you appreciate most?
love Caruso, the Ponselle Schaliapin, Callas and Di Stefano, Simionato then.
Today? I appreciate the intelligent way to make art of Dessì, Desiree Rancatore the good in his repertoire, then the voice of the giant river Nicola Alaimo, Simone Alaimo (uncle) and his way of being an artist that has always characterized as welcome in some work style and Frittoli Antonacci ... sorry, but I can not think of anything else now.
The opera world, as we talked about and gentlemen, is said to be full of envy and hypocrisy. The relationship between colleagues, whether singers or directors, is not always easy or are there cases where you create friction between you?
of envy or hypocrisy I've never cared for, even if I did there. I've never had friction with colleagues, whom I admire all, in the meantime as they are, then as a hand, are generally happy and honored to sing with me, and this allows me and make them better.
And with the directors? I read in your resume that you worked with Mehta, Abbado, Muti, Giulini, Oren, the Maazel ... most prestigious chopsticks. Which of them you've found the most artistically and humanly comfortable?
Muti goes without saying that only gave me the greatest consideration: just settled at La Scala debut in 1986 made me, then came often to listen to me, invited me to his home in Ravenna, I was always treated as a person home, as did his wife and his beautiful daughter Chiara, a great actress. Muti for me is the most 'big, the other a back seat, everyone, including Giulini, but in the end I was fine with everyone. One of my strong point has always been very musical, since the time of the conservatory (where I graduated in the case with 10 in solfege).
back at your role, your career also saw the premieres: moment of great historical significance besides modern art was the resumption of you entrusted dell'Ines de Castro of the Persians, musical-cultural operation drew more than 50 critics from around the world. How did you feel in taking part as leading to this event?
Ines de Castro gave me the opportunity, as he wrote Gualerzi, to introduce the X-ray structure of Malibran's voice in a work that was written by an author less, but just for that reason, but I still very attractive music descriptive of the Persians in this work. Mioli wrote in the journal L'Opera, "Eroica, the Dragons, after much research we finally did understand what was the song of the century who has shown skill to know all the rules of style." So they expressed various critics in the world, defining the only one who could revive this work. Air simpler then, "Dear day," was recorded by Bartoli in a CD dedicated to Malibran.
In this regard, recently many singers are part of the star system without opera, for us, the real requirements of the artist. What do you think? Have you ever been the victim of the dynamic business which has long been subject the world of opera?
Already the word star system has nothing to do with the music, which is an ancient art, and the great Uto Ughi has amply demonstrated, it is a system that has failed in full and now presents its last vestiges. Some experiences I had signed a contract to record with Muti Il Trovatore and I was already in London. Those of EMI were excited about me, then came the tenor and wipe the CD, said, "is coming out of the Troubadour with Decca Pavarotti and Banaudo, and content can not compete with Pavarotti." My career is littered with episodes similar.
How well have suffered the gross injustice of the American superpower. So it was for, and Norma Vestal, the press announced, "is the year of the dragoons, which will open two theaters with Muti (La Scala and Ravenna) with two important works: and Norma Vestal," then at La Scala, after a month of tests Cavani, came from a U.S. tax-star system, which was then flooded with whistles and panned by critics. I do not sing ever again ', but in the end, though when I sang I had the audience into a frenzy and the press important to me Please Emi on the DVD is the U.S., both with the media today simulate applause and eliminate the whistles is a breeze. Even in Taormina, I had to sing Norma in the world vision 23 and in the end I climbed over June Anderson, 10 years older 'than me and he has never believed in Norma (when I, at age 25, I sang 115 performances well in that role).
From your early days have gone another 25 years, made an enviable career in large theaters and in an important repertoire. I still feel he had done all you could and you wanted? artistic challenge that you'd be happy to collect today?
After 25 years today, besides the voice I had and I still have now, I have the experience and greater security, as always, we'll see what I will be asked, I do not like routine I do not sign long-term contracts, especially now that things change constantly.
What advice would you give to a young man who is about to embark on a road in your world, that of opera singer in the opera house.
not do the same for all theoretical advice, with regard to each item is a special case. For the rest of the board to study and not get distracted, to be when you study singing only passion. As long as you are in game you have to be serious and ethical, but I'm sure that my words are in the wind.
About passions ... Who is Mary out of the theater? and passions has over the work?
Maria out of the theater is a normal person and very simple, generous ... sometimes a bit 'too much.
Passions are always art, painting, sculpture, aesthetics and love nature, especially the sea. Having sung in over 120 cities around the world have traveled so far, and travel remains one of my greatest passion.
To close, your future professional engagements ...
Things sure are a concert of music by Pergolesi in Naples ... then other things, as an option, like the debut Attila ... but we are in September and will reach many other jobs, as always.
Dear Mary, thank you for your time with those who will be pleased to read this conversation.
is I who thank you for the intelligent questions.
I greet you with great esteem and affection, Maria Dragoni
(interview by Didier and Zizzu)
