In view of its European debut in Zeffirelli's Traviata Opera in Rome we met Daniela Dessi, an Italian soprano of the largest currently in operation. His beginning, his repertoire, thoughts on music, theater, media, memories Scala, those overseas, the future plans ... Here's what he told the Voice of the exclusive here:
Daniela Dessì is revealed in the opera world by winning the international competition of the RAI in 1980, the first of many accolades that will come in his career. A I remember that moment and the next stage debut.
Just last night I was reading a book about Maria Callas, an artist but also a woman on whom it was said and perhaps too much, and the story of his early years brought me back to my beginnings. The beginning is similar for all, we want to do and to become somebody, to say their word in this theatrical world. In my case I very well remember that evening when I was sixteen, in Brescia in front of a poster of the theater, I told a 'friend who was with me: "I definitely want to become a great opera singer." I studied so much to realize my dream in this field should never be taken from us quickly. Win competitions is very important because it opens the doors of the theater, although nowadays many young people forged ahead too quickly. Thanks to that competition Rai had the opportunity to meet Master Herbert von Karajan and work with him, and was a wonderful experience.
From that 1980 has been nearly 30 years, during which time we saw her repertoire wander in various directions. The beginning was also involved in the production of titles eighteenth century, then gradually it went to Verdi, Puccini and the Young School. How did you deal with such different roles? The technique is really only one?
I started singing when I was still very young, at eighteen and a girl of that age to think of a repertoire of pure opera (Verdi, Bellini, Puccini) would have been insane. It 's a murder to face that kind of vocal music with a voice still young and not yet trained for those roles. At the beginning, nilly, I had to think about doing simple things that I have, however, enriched in the musical experience, whether it is made in the prestigious setting. In the time I was able to take advantage of the aid they gave me the works of the eighteenth century. When the mature voice, and this can only happen with the technique (which is the basis for everything) and the study, you can face the great characters in the repertoire. With the technique has also come to have security as actors, because if we have concerns or difficulties of a speech is not free to act and sing well. The technical basis is one, then clearly you have to go through its own personality and then some aspects may vary.
addition to Verdi and Puccini, the eighteenth century and the twentieth century, even in the bel canto repertoire, from Bellini to Rossini, Donizetti queens. What are the difficulties in performing this type of footage and comparing it with that composers writing impervious reserved for meals, Hum and other great divas of the past?
I would say that today face similar roles is a real challenge. They are very rough compared to years ago, perhaps when we could better deal with a different height to the pitch. Must be faced with courage and a bit of presumption, we must challenge the music and the score to overcome those challenges helps us to manage the visual and auditory. The vocal training of these works in particular must be made with a rigorous technical study because the notes are developed one by one.
Speaking of the singers instead of the more recent past, which ones have impressed you most and why?
know the past and his background singers is very important for an artist now, it's like studying history. There have been many role models for me for everyone to take a little secret. Among the sopranos Rosa Ponselle love that was one of the greatest singers of all time, I love Maria Callas for the spirit of innovation and theatrical voice he had, and then I can cite or Tebaldi Scotto. I admire those who are always good and you tell the difference and this applies to the past as well as for the present.
Daniela Dessi was privileged to sing live from the biggest sticks. We know that the Director orchestra plays a key role in preparing for a show. What are the directors who have given more in terms of both musical and human?
not always the musicality is combined with humanity, but when music is one of the nice things is that we are united by that invisible thread that is the music itself and all the usual language we speak. I could not quote a director or two or three, because each gave me something, Abbado, Muti to Karajan, Kleiber and Sinopoli. For me it was a great school to follow the advice of such great directors, was important because I have always given security to pull out my chances and compare my ideas with them. I say that I gladly work with them rather than working, because the show is done all together and everyone has a part that is crucial. When young it is important to meet with figures such significant and large I can say that those moments of great collaborations have formed musical comparison.
Big sticks and big theaters: among all the Teatro alla Scala, considered the greatest Italian opera and one of the largest in the world, in which he sang several times before triumphing in what is considered the most demanding. What is the scale for you? And what is today in general?
I love the scale, is undoubtedly the home of opera. The public is honest and straightforward and provides you with confidence. Unfortunately for the young singers today represents a starting point when in fact I think should be a point of arrival as it was years ago, it was a mistake in recent years that, but I hope you will understand. Having triumphs at La Scala fills you with joy and strength to move forward in your job ... and then ... ... is the scene of Verdi
About Verdi and La Scala, watching and listening to the last inauguration Scala with Don Carlo, we came immediately to mind his famous Don Carlo with Maestro Pavarotti at La Scala (debut in the role of the infant), Riccardo Muti and directed by Franco Zeffirelli. Pavarotti himself denies his own interpretation, we hear again in the light of these years, say that was a great exhibition was great and the interpretations of the characters. A memory of that event and the master Pavarotti.
I tell you now that I have always defended the production because I have appreciated very much, all we wanted and we worked so hard to achieve it. Many have despised that show, then so much noise in particular for a note of Luciano choked against which it was organized real battle. I remember very accurately the words that my father told me at that time: "you'll see that many years you can say, I was there at that Don Carlo," fully grasped the target. For Luciano, this was a great sorrow for many years, I found him an injustice so great irreverent and although it is clear that the theater is also made of these things he should not expect anything quite like this, then only a note. Some singers will forgive things worse. It 'been a really great content.
What is your idea of \u200b\u200bdirecting a show? we know and see that many directors today tend to take too many liberties in the work, often going in the direction completely contrary to the intention of the authors of the work.
You have spoken well. I believe that production should be respectful to the voice and music. We need the singer, already under stress should be able to move voice and sing freely. For me, class, taste and balance are key things for setting up a show.
The scenic aspect of the work, as already noted, it is essential, and Daniela Dessi is a great singer-actress, as has repeatedly demonstrated. How changed over the years the relationship between his singing and acting? What preparation is behind it? how can you govern the emotion on stage?
Surely something has changed because the theater experience also improves the balance between performance and vocal performance on stage. To play well you certainly have a great voice security, physical problems and thus hamper the success of voice acting. Since the beginning of my career have always entered into the character, saying what I'd do if I were you? We need to understand the mood of the character, which changes the time. Depending on how I feel every night clear interpretation will be different in small facets. Unfortunately there are no tricks to govern emotion, we wish to limit the action dell'immedesimazione on our mood, and when I enter the scene and I happen to be anxious I always say: "now if you are afraid, remember damn that fear and get a negative result. " When I go before the public think this is for them and not charge me to remove it, get into character is also very important indeed to eliminate anxiety.
What it means to work alongside the person who is next in life (Fabio Armiliato)? is it harder or easier than singing with other colleagues?
Obviously it's easier, it is clear that everything is easier because there is a different way to understand and then act accordingly, just one look to communicate something and then you solve many problems. But there is also a greater stress on the other by both sides and in this sense is more difficult to sing with other colleagues.
Speaking of emotions, I personally have a very exciting memory of the centenary of Madama Butterfly at Torre del Lago in 2004. That link has with this character and emotion that he tried to sing in Nagasaki?
I have an extraordinary relationship with the character of Butterfly, also because I've sung in all the major theaters from the Metropolitan Museum in Madrid at La Scala, then we say it is a work that took me more than others around . Cio Cio San for a particular affection I really, through the study of the character I could understand the customs and ways of thinking of Japanese women, a people with great sensitivity and I appreciate very much. I was the first Westerner to sing Butterfly in Nagasaki and Japan, and even this was very important. Then I have to say that this has always been boycotted, especially in the beginning, and for the love of Puccini love so much that he wanted maybe more Butterfly.
Talking of characters to which it is linked, I'd like to know some roles that are all his artistic personality and psychological character that they feel closer to her.
It 's a very difficult question because this is not easy to separate the music from the characters. But I could say for example TOSCA, first of all because I think closer to an opera singer Tosca there is nothing, Tosca is an opera singer, then for his strength, passion but also the fragility of the woman, in short contains some features that I find in me very strong. I love that RULE is a character in the round, strong and sweet at the same time, instead of Manon Lescaut I like to capture the youthful enthusiasm and naive age of superficiality which then flow into the dramatic ending, I find this very interesting. A particular connection, as I said before, is that I have with CIO CIO SAN that it is very far from me because they belong to different traditions gives me a lot of emotions, mainly because it is a mom and I feel very strong role in my life. And then I would still AIDA which fascinates me the strength that emanates while being a princess in chains and finally reduced FRANCESCA DA RIMINI a role sensual and sweet, its fascinating history but very vocal and interpretive difficulties.
standard in particular is a work that debuted recently and gave her a great success and can tell me briefly how to prepare and how long a part so challenging?
Norma I theatrically prepared in a single week, because although I wanted to reserve more time to the implementation stage my schedule I do not have permission. From the psychological point of view and musical I've got to mentally prepare young boy, was a work that I have always loved so much. Was ripe within me. Before preparing the score in detail with voice and music I already had a thorough knowledge of the role.
Among his upcoming commitments but there is a Zeffirelli Traviata Opera in Rome. Tell us a bit 'of work behind this character and working with one of the greatest Italian directors.
La Traviata 's I've sung a few years ago in Japan, is a wonderful role for me, and it will be the European debut in Rome. It 's a character I've known for a long time because, as Norma is one of the first works that are heard and Violet has had a long maturation in me since I very young. And 'rich and emotionally as a character drama. But let me say this: I am a Traviata a little 'old' in the sense that the work it with my voice lyric driven as did Renata Tebaldi or Virginia Zeani. Often has been and is headed by sopranos light that solve the first act but then have difficulty in the other two because the writing changes with the change of the green character. My aim Traviata to the drama. With Zeffirelli I have not worked on Violetta, but we'll talk then ...
We know many things about the opera before, but today it means to be a singer first level and how we live the world of opera?
Theatre is certainly much changed with the passage of time and the subsequent advent of the media and today is just a place for music lovers, the work is no longer a musical style rooted in the culture also type home as it was years ago. Therefore the situation is obviously different than the work of the stars at fifty or sixty years ago, when the singers became stars in every sense. Today we definitely work harder to succeed than they did in the past. For me it was always the great desire to sing and be part of this world leading. I do not know how I would deal with the theater if I had sung at the time, but now I love him very much.
talks about the media, as well as theater, we also see it on TV and in his shoes than in those of the heroines who embodies (remember the recent telecast of Norma and Francesca da Rimini gone on the air right on Rai) His relationship with the media, especially TV, and more generally some reflections on the relationship between opera and mass media.
I consider very important media for the dissemination and opera, but if done with knowledge of the facts. I never try never to attend programs not useful for the dissemination of the work in Italy or abroad. But sometimes I also like to have fun in a smart way as happened in San Remo this year, I liked the idea of \u200b\u200bworking with Francesco Renga and I liked the song dedicated to the great tenors of the past, to perform the work which is a Sanremo international showcase is a great way to present it again even at a different audience. I try to make it clear to the media even lighter, as the magazine, when granting interviews or making services on me that the opera singer is not, as many think, unfortunately, a mummy, a person who is detached from your world, but she's a woman or a normal man. I try to be present in TV when I talk about work, not are alive and do not try un'autocelebrazione on TV, which is a negative factor. Being present at times in some programs I hope to find new people who are passionate about the opera house.
Still on the theme of "communication", Daniela Dessì is quotatissima teacher. What does it mean to you as general principles of teaching and tries to convey to his students? There are items of interest today?
For me teaching is wonderful, is an extraordinary opportunity to pass on that little or as much as I learned in my career. I made account recently that the biggest problem is insecurity, singing schools in Italy are far too few. I would like to find someone that can give everything I have learned that one day someone would sing as I sing and carry on what I started. The entries are there today and there is also a willingness to learn, which are handled badly, because you sing, sing and write, all at once. This is the biggest mistake because it leads to ruin a voice and a career.
Thanks to Daniela Dessì from here the voice, hoping to find it quickly here as in the theater.
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