Inevitably everyone wants to know when Pisaroni will tackle Don Giovanni. He has obviously been thinking about it/ As with Figaro and Count, he rejects the idea that Don Giovanni and Leporello are brothers under the skin. 'Leporello does not have courage. He's somebody mediocre who lives his life through somebody exceptional. I don't think Leporello could ever charm women or know how to seduce women in the way Don Giovanni does. I think he loves to be around somebody awesome because he's so uncool that he knows he could never be him.' Fine. But when he is going to sing the role? 'I want to do DG. It's a very relevant part. Its very difficult but it's very relevant.' Relevant how? 'It's too important to ignore. the history of the role is too inportant. It's not that the role is so difficult that I'm not going to do it. The role is difficult but I'm going to do it.' When? Silence. OK, difficult how? Pisaroni struggles to define the problem: The role...the role...he has no really beautiful aria- so that's not the focus of the evening...'The serenade? He rolls his eyes: Pff! Come on! You don't love a DG or hate DG because of the serenade! Everybody has better music! Donna Anna has two phenomenal arias! Elvira? "Mi tradi" is a much better aria! If you get a tenor who can sing phenomenally well, "Dalla sua pace" and Il mio tesoro". And here DG comes with "Fin ch'han dal vino", which lasts one minute and 25 seconds!' So what is the challenge? 'To me. it's the cementry and this meeting between him and whatever that is- death, justice.' One obvious reason that companies are keen for him to play DG is his looks. He knows this, and he's been offered Onegin for, he believes, the same reason: 'I probably look a part, but I do not know one baritone who doesn't struggle in the last act. Evreybody who has done the role- Mariusz Kwiecień, Dmitri Hvorostovsky, Peter Mattei, Gerald Finley- they say, "The third act is tough!" And I'm like, yes. You know, I can look at the role when I'm 48 and it's going to be still yoang Onegin. And that's a littel bit the problem I have today. Because I could probably look the part of Rodrigo in Don Carlo. Could I sing it? Hell, no! the problem is not the high notes. The problem is tessitura in those roles. It sits on E natural, E flat, F- way too high to my kind of voice. In Rinaldo, my dog could sing that F sharp [in Argante's 'Parmi dir d'intorno'] because it is not sostenuto. There is nothing in Handel that too high for a bass-baritone. Nothing! I'm not saying I wouldn't ever do Onegin. I'm saying I wouldn't want do it now. There is so much repertoire now that I can do. I don't want to burn my bridges.'
Мне бы ещё кто кроме Сьепи и Отса спел бы как надо эту 1 мин и 25 сек. ;). Если это такая пустяковая вещица, что же так часто её фэйлят?
Лука просто пока не чувствует Дона, видимо. Потом будет хорошим доном, главное не перезреть, всё же. Но этого точно его роль.
И как относителен возраст для ролей в опере, т.е я только сейчас поняла отчётливо, когда Луку читала, почему такая приятная редкость, когда мы видим мужчину в спектакле, по внешности и возрасту соответствующего нашим представлениям о герое. Без театральной условности. В опере это ещё ярче проявляется.
Но раз тебе не терпится....
Inevitably everyone wants to know when Pisaroni will tackle Don Giovanni. He has obviously been thinking about it/ As with Figaro and Count, he rejects the idea that Don Giovanni and Leporello are brothers under the skin. 'Leporello does not have courage. He's somebody mediocre who lives his life through somebody exceptional. I don't think Leporello could ever charm women or know how to seduce women in the way Don Giovanni does. I think he loves to be around somebody awesome because he's so uncool that he knows he could never be him.' Fine. But when he is going to sing the role? 'I want to do DG. It's a very relevant part. Its very difficult but it's very relevant.' Relevant how? 'It's too important to ignore. the history of the role is too inportant. It's not that the role is so difficult that I'm not going to do it. The role is difficult but I'm going to do it.' When? Silence. OK, difficult how? Pisaroni struggles to define the problem: The role...the role...he has no really beautiful aria- so that's not the focus of the evening...'The serenade? He rolls his eyes: Pff! Come on! You don't love a DG or hate DG because of the serenade! Everybody has better music! Donna Anna has two phenomenal arias! Elvira? "Mi tradi" is a much better aria! If you get a tenor who can sing phenomenally well, "Dalla sua pace" and Il mio tesoro". And here DG comes with "Fin ch'han dal vino", which lasts one minute and 25 seconds!' So what is the challenge? 'To me. it's the cementry and this meeting between him and whatever that is- death, justice.'
One obvious reason that companies are keen for him to play DG is his looks. He knows this, and he's been offered Onegin for, he believes, the same reason: 'I probably look a part, but I do not know one baritone who doesn't struggle in the last act. Evreybody who has done the role- Mariusz Kwiecień, Dmitri Hvorostovsky, Peter Mattei, Gerald Finley- they say, "The third act is tough!" And I'm like, yes. You know, I can look at the role when I'm 48 and it's going to be still yoang Onegin. And that's a littel bit the problem I have today. Because I could probably look the part of Rodrigo in Don Carlo. Could I sing it? Hell, no! the problem is not the high notes. The problem is tessitura in those roles. It sits on E natural, E flat, F- way too high to my kind of voice. In Rinaldo, my dog could sing that F sharp [in Argante's 'Parmi dir d'intorno'] because it is not sostenuto. There is nothing in Handel that too high for a bass-baritone. Nothing! I'm not saying I wouldn't ever do Onegin. I'm saying I wouldn't want do it now. There is so much repertoire now that I can do. I don't want to burn my bridges.'
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Лука просто пока не чувствует Дона, видимо. Потом будет хорошим доном, главное не перезреть, всё же. Но этого точно его роль.
И как относителен возраст для ролей в опере, т.е я только сейчас поняла отчётливо, когда Луку читала, почему такая приятная редкость, когда мы видим мужчину в спектакле, по внешности и возрасту соответствующего нашим представлениям о герое. Без театральной условности. В опере это ещё ярче проявляется.
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