*JaRoWi1647* Admin
Posts : 1373 Join date : 2009-11-03
| Subject: Interview in a Russian newspaper. 3rd October 2013, 19:38 | |
| [You must be registered and logged in to see this link.]This amazing interview is worth to translate! ! ( As well as I can ) " Now, there are no borders for countertenors ! " By Ilia Owchinnikow.Question:- You´re coming to Moscow with Venice Baroque Orchestra, though you worked with a lot of different ensembles, almost each new CD you recorded with one another group - Concerto Köln, Les Arts Florissants, Ensemble Matheus, Ensemble Artaserse , Le Cercle de l'Harmonie, Le Concert d'Astrée etc. How depends the choice of the ensemble on the program ? Philippe:- That´s not only many of them, with the time there are more and more ensembles! You know, last year I began to look for an Italian ensemble to make the program, having realized that 95% of my repertoire — Italian. Direct contact to Italians was necessary to me, their orchestra really sounds in a different way! They react to any of your instructions immediately, at physical level. A lot of things depend also on the conductor: I worked with Concerto Köln with Diego Fasolis and Emmanuelle Haim — the result were absolutely different. With Emmanuelle it was a typical French-German ensemble, with Diego — typical Italian collective, a difference is audible for an unaided ear. Andrea Markon is absolutely different. He is excited very much by the concept, structure, he is a story-teller, each piece is by him an separate story. Diego is much more emotional, in his performing the body is much more important than the head. With each conductor and ensemble you can learn something new.Q:- What did you learn by Christina Pluhar and her ensemble L'Arpeggiata ? The CD "Teatro d´Amore " with Monteverdi's music as well as recordings of your concerts with this program are overwhelming, but some people were scandalized by the incredible freedom of the performing. Philippe:- As you know, Christina has many projects in the most different styles. In each of them she introduces something unexpected, and under her leading I sing also much more differently, than with any other conductor. Our new project will be absolutely mad— I myself couldn't believe in our craziness before I listened to this recording. We were criticized a lot for the "swinging " Monteverdi , but this piece - "Ohimè ch'io cado" — we usually do at the end of the program. However, on the CD it goes right at the beginning — this provocation Christina made quite consciously. And behind of it there is a much deeper idea as it´s possible to imagine. Throughout tens of years we´re searching how to perform the baroque music correctly . I am sure, that Monteverdi, as well as Bach and Händel, playing own music, dared to sing adn to play the lowered notes, like in the blues. Our performances provoke a question: are we sure, whether we know how this music sounded like? The part of a bass seems today so jazzy by the nature, that it´s difficult to play in a classical manner. Q:- That means, you don´t search for your „ only one“ ensemble to work with and you ´re still interested in different ones at the same time? Philippe:- Yes. In few months, for example, I´ll perform the first time with Nathalie Stutzmann and her ensemble „Orfeo 55 „— their creativity seems to be interesting for me ! She´ll conduct and we´ll sing together some duets. Nathalie took lessons by Seiji Ozawa , Simon Rattle, and it´s not only a whim — she really learns to conduct. And not only the baroque music! She dreams to perform Mahler's symphony and many other things, though she is known the most as a singer. She already performed Strauss's "Metamorphoses", recently debuted as the symphonic conductor with Brahms´ and Schumann's compositions. In her plans is Tchaikovsky, Schönberg , Mozart's Requiem, Mahler's Fourth symphony and even " L'elisir d'amore " by Donizetti! Q:- Do you have similar plans? Philippe:- Not yet, but if I lose my voice, I´ll have something to do. At least I still have something to sing for about ten years. For example, in January we´ll perform "Stabat Mater" by Pergolesi with Julia Lezhneva - three times in different cities. We already made this recording , though we didn't work together before . And this piece was really great choice for a start, we felt like two big children. We met the first time here, in Moscow, when I sang in the Small Hall of C onservatory. Now she is 23, and then she was even younger. But her freedom to sing was already amazing . And the director of Virgin Classics suggested us to sing together. He wanted to release Julia's recording by our label before she will decide to go to Universal, they have a continuous competition.Q:- Are you satisfied by your recent concert in Moscow? Philippe:- I didn´t like how sounded the first aria, but it wasn´t a big problem – I had to sing nine more. Opera is quite a different thing— there you can leave after the first aria for a half an hour, and it just ´s impossible to sing it luckewarm . And even when you have five arias, you can need two months of rehearsals. It´s interesting that directors often are afraid to work with famous singers — they refuse to follow their instructions. Cecilia Bartoli is one of rare exceptions: I don't know the artist of more flexibilty, who is on stage not afraid of everything. About my plans - I can tell you about the opera "Polifemo" by Porpora - there I have five big arias! However, it isn't quantity, it depends of what do you have to do on stage : for example in Salzburg - preformance of "Giulio Cesare in Egitto" by Händel I had in the role of Sesto to run, hop, rush somewhere, not to mention the aria with a snake in my hands!Q:- This performance was criticized a lot for bad taste - oil derricks, shahids, winged missiles, drugs, the tank... didn't all this disturb your singing ? Philippe:- In my opinion, Moshe Leiser Patrice Caurier´s staging was excellent. Each situation and each aria were worked out to subtleties; they perfectly studied the libretto what happens not to all directors. Yes, some visual effects could be not so pleasant, but it was the intention of directors — to shock . Though, with some decisions I´m also not agree —at the first - this scene with a crocodile, in whose mouth were putting their heads Cleopatra (Cecilia Bartoli) and Cornelia (Anne Sofie von Otter), who resolutely did not want to do it. They fought two months because of it. But I liked the idea with a bag on the head of Bartoli . When she sings and you don't see her face, only imagined it for yourself... very touching . Not to mention the excellent casting where men's roles were performed by men- that happens in this opera not always. And another thing I didn´t like there— my suit with knee- socks and short trousers. I think, I look young enough, why they made me to a school- boy? I didn't sing this long-awaited opera before, except as a concert –performance . My dream also was to sing one day together with Cecilia and Anne Sofie von Otter, I didn't hope that all this will be happen at once. It is really strange that this performance wasn't released on DVD though the payment for it was even entered into my fee. Q:- When at the last moment there appeared a tank, many shouted " buhhhhh" though it was at least very unexpected. Philippe:- Oh yea! It was very expensive, several hundred thousands euro... the tank was real, carried from Germany.Q:- Why CDs are important for you? The audience downloads rather the recordings from the Internet than buys CD´s, and they continue to be released . Is it needful ? Philippe:- My CD´s are still good on sell , but how long it will last? You know, for a long time there is in France an award "Golden disk". Ten years ago it awarded when the CD was sold with the circulation of 100 000 copies. Five years ago — 75 000. Now — 50 000, but even almost nobody manages it. However, the recording of CD´s is for me still important. The first of all , for concert tours: you go on stage, you share with audience the important for you story, and after a concert it´s possible to buy CD. It is interesting that parallel with my CD dedicated to Farinelli, there was released an album of countertenor Franco Fagioli dedicated to Caffarelli, who was contemporary and rival of Farinelli, — literally in the same days! I think, today starts the new era for countertenors. They were former associated with the church music, with Bach, now we can see that their repertoire and abilities where much wider.For example, Franco has the same range, as Cecilia Bartoli, and they use approximately the same technique.There are no borders for countertenors ! It refers to a development of our school ; now we use for a education of a countertenor almost same techniques as for a mezzo-soprano, as result we can sing almost the same as they are used. It is tremendous, isn't it?Q:- Many of your albums became for audience the real repertoire - discovery! Philippe:- My model here is also Cecilia Bartoli. She is so famous that she can allow herself do not to look for easy ways... well , why to record Agostino Steffani's album - why do not choose something more popular? But she means it exactly so — and she is right. It is strange, that there are people whom irritate her popularity— say, classical music has to remain the narrow area for the elite. I think , that even the part of fans of Cecilia was disappointed by her Steffani' CD— though enough virtuosities there, but the music nevertheless is not the highest level. I want to depart gradually from the only virtuosity, I ´m a little tired. Yes, I can sing well the program of masterly arias like this one in Moscow. But it seems to me that in the best way I can show myself in Cantatas and Bach´s "Passions", in Motetts by Vivaldi, in Purcell´s, Dowland's music... Händel, but for this purpose it´s necessary to improve my English. The most difficult language for singing, even worse than German. And the Russian on which I, however, yet didn't sing. The sound seems to me one of the most natural. Though ,of the Russian music I most love Shostakovich's Tenth symphony and I would like to get acquainted with his widow. I was never at Valery Gergiev's concert – he should be one of Shostakovich's best performers. Is he really the most popular performer of classical music in Russia?
Q:- Yes, together with Vladimir Spivakov, Denis Matsuyev, Yury Bashmet. And Anna Netrebko if to speak about the vocalists. Philippe:- I n France you can be very famous, you can have a huge audience, but nevertheless , being a classical musician, you have no chance to become the national hero as it is possible in Russia. ( What about „ Our Philippe national“? - JaRoWi )))) In my youth , when I was going to become a violinist, I happened to play some Shostakovich's quartets. However, all violinists play sonatas and Bach´s partitas — so I also began to be interested in music of that era. And then I heard three operas by Monteverdi... It is interesting that he was born exactly one year after the death of Louise Labé — the poetess, on whose verses Marc-André Dalbavie composed for me his vocal cycle for a countertenor and orchestra. I sang the premiere of his "Sonnets" five years ago, now Yury Minenko, with whom we together worked in the opera "Artaserse" by Leonardo Vinci , records this piece. I would like to make this recording myself, but my schedule doesn't allow it.Q:- You mentioned Cecilia Bartoli several times, she was singing here one week before you. She was very surprised, having learned that sometimes it is easier to fly to Salzburg for her performance, than to get the ticket in Moscow. Philippe:- Oh yes. However, I was horrified, having learned about prices for tickets in Salzburg: the most expensive for "Giulio Cesare " cost some hundreds euro. Trouble, of course — not all can afford it.That is the particular reason , why CDs and DVDs are still useful. ________________________________ " J’essaye de contrôler mon image et je ne vois pas pourquoi je parlerais de ma vie privée ou pourquoi je devrais faire connaître publiquement mes choix politiques ou autres." [You must be registered and logged in to see this image.]
Last edited by *JaRoWi1647* on 3rd October 2013, 20:54; edited 3 times in total | |
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Artemis
Posts : 605 Join date : 2011-10-26
| Subject: Re: Interview in a Russian newspaper. 3rd October 2013, 22:57 | |
| Many thanks for this, Jana. I already found this article but as I don't speak Russian, I ran it past Google Translate with the usual hilarious results; I really should have known better ... A. (Enemy of Google Translate) | |
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*JaRoWi1647* Admin
Posts : 1373 Join date : 2009-11-03
| Subject: Re: Interview in a Russian newspaper. 4th October 2013, 10:33 | |
| You´re very welcome, Artemis! I tried to do it properly, but some words and phrases I need to translate first to German, it is easier to me and then - to English, to get something understandable . Btw - I guess, they wanted to "make him to a school- boy" even because he looks "young enough", otherwise it would be even daft. I never tried Google Translate- is it really so silly? ________________________________ " J’essaye de contrôler mon image et je ne vois pas pourquoi je parlerais de ma vie privée ou pourquoi je devrais faire connaître publiquement mes choix politiques ou autres." [You must be registered and logged in to see this image.] | |
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