Kristine Opolais Sings Dvok's Rusalka, "Song to the Moon" Opolais fully immersed in the opera experience, absorbing everything in her path. One time I showed her a video a YouTube of me performing and she started to cry, Opolais revealed. So when you lose your child, you have a feeling right there, this great loss in your entire body. Ms. 17:05 Affaire conclue, tout le monde a quelque chose vendre. The birth of their daughter Adriana that December marked another joyous milestone. Teenage years in post-Soviet Latvia were not easy, her upbringing not straightforward-Kristne, an only child, learnt to fend for herself. She found herself increasingly trapped and other challenges were taking away from her being able to sort out her identity as an artist. Kristine Opolais as Cio-Cio-San and Roberto Alagna as Pinkerton in Puccini's MADAMA BUTTERFLY. Today I can only say that Im thankful for my experience as I really know what bad is. The 52-year-old said he spent two weeks working from nine in the morning until nine in the evening to learn the lead male role which he sings opposite Latvian soprano Kristine Opolais. When I did Butterfly I sang with a Scotto voice-I could imagine her sound and I could produce it. She appears as Tosca at the Vienna State Opera in January followed by performances of the opera at the Royal Opera House in the Spring. The soprano noted that this return to her own identity came during the performance of La Bohme at Tanglewood in August 2018 under the baton of her ex-husband Andris Nelsons. Opolais was so excited about it that she stayed up until five the next morning. I was 27 when I met Margreet, and she thought I was young enough to start again from the beginning. Privacy & Cookie Policy. Opera Magazine Features People Kristne Opolais. Kristine Opolais: The more experienced you are in your past with difficulties, or somehow with some emotional or relationship issues, the more this brings important point to light for you, as a Puccini singer. Such acting talent clearly appeals to directors and, while Opolais chooses her commitments carefully, she can also take risks, and is prepared to take over at short notice. It was the first time she performed the role on stage, despite having a recording released a few years ago. This kind of intense emotional approach comes with its risks for those that like things a bit more predictable, but it also allows the performer to be open to new possibilities onstage. I have a suitcase of emotions to choose from and an abundance of life skills. Look, you are one of the most horrible kids, and you have low marks!-not in every subject, I should say!-I said I will not need it and I was right.\. In 2008 she returned to Berlin and the Staatsoper as Polina in Prokofiev\sThe Gambler, with Daniel Barenboim conducting. Opolais\s interpretations draw primarily on her imagination, but sometimes on her own experience. I got through those early years by listening. In this honest and humble interview with. It gives you a compass to go on and to measure a situation quickly. She found herself increasingly trapped and other challenges were taking away from her being able to sort out her identity as an artist. I remember her face after the production. In her mid 20s she was enjoying the success many dream about and with which most would be content. A few years ago, Opolais found her approach being increasingly questioned and a lot of advice was given to her to sit back, restrain her instincts, and focus only on singing., I started to lose voice power, presence, colors, everything, she revealed. So 12 hours -- that's a lot!" Alagna told AFP in his dressing room at the New York opera house. Not knowing the production, she was walked through it, and went on to give another searing performance. RENE FLEMING HAS SAID THAT YOU REPRESENT A NEW STYLE OF SINGER, WHAT DID THAT MEAN TO YOU? In the 22-23 season, Jonathan Tetelman makes his eagerly awaited company debut at San Francisco Opera as Alfredo in a new production of Verdi . When she laughed, she'd lean forward and create a triangle from her shoulder to her hand with her left arm, bending her wrist. She needs to start her life.. I couldnt focus my brain on the arts because of divorce, health problems, and also my daughter was going to school and I didnt really have time for my art. People just wanted me to sing and thats it. 17:55 Affaire conclue : la vie des objets. In 2007 too, Tosca was the role in which Opolais made her Greek National Opera debut. For the moment, her Boito debut is all-engrossing. ", (Laughs) Yes, I am very jealous! Her conclusion? Kristne Opolais admits this is the only word to describe how, when she became a member of the chorus of Latvian National Opera at the age of 22, she found herself swept up in a new and intoxicating world, astonished by the power of opera to engage and move. For this reason, she loves rehearsals because she has the time and space to understand the characters emotions and anticipate the pain and suffering that she will have to endure when she gives herself over fully to interpreting the person in the performance. I just remember I wanted it, and I thought I could do it. A Butterfly For the Ages. Of course theres been very difficult moments in my career, but it was because of my past that I didnt fall apart completely. Opolais now looks back at those early years, asking herself how she did it and at what cost. Even so, she tired quickly, singing the whole last act. I had been partying with colleagues after the production (laughs), there was no way I could do it! At first she refused, but quickly rang back. Opolais admits that for better or worse, she has always been one to do things her own way. Kristne Opolais. Every artist needs to go through difficult times. Im an actress first and the voice follows. It was only in the second year I started to believe in myself. Vairkus gadus bija Latvijas Nacionls operas soliste, vlk Minhenes [2] , Berlnes , Milnas , Vnes un citu pilstu operu soliste. She has performed leading roles in such operas as La Rondine, Manon Lescaut, Tosca, La Bohme, and Madama Butterfly, in addition to Suor Angelica.. I need to feel the pain to then understand the problem. All rights reserved. Being the daughter of Andris Nelsons and Kristine Opolais, she has to be sensitive. "People just wanted me to sing and that's it. If I work at home, people tell me to take it easy. Then she went on tour with the Gewandhausorchester Leipzig, also under Nelsons. WHERE DOES YOUR HEAD GO WHEN YOU PERFORM? I dont think Ive ever been so frightened in my life walking to the theatre that morning, it was horrific. Singing went well, but not the theory, and Opolais is forthright about that disinclination to apply herself: Even at school I had problems-in mathematics it was a big protest, because I didn\t want to do it; it was not interesting. Sometimes it has worked against me, but most of the time its my biggest strength. After that step in at The Met, my manager told me to always trust my gut over anyone else because everyone around me would have told me to say no. Select search scope, currently: catalog all catalog, articles, website, & more in one search; catalog books, media & more in the Stanford Libraries' collections; articles+ journal articles & other e-resources Though she\d only sung part of the role of Rusalka before, the range of vocal colours it offered made it irresistible; but accepting was a gamble since she was due to make her debut in New York as Musetta. Today, I walk on stage and I completely transport into the character. Shes the classic representation of the role and she brought so much beauty to that character. I wouldnt have been able to bounce back if it went badly the stakes were too high. I feel like nothing can go wrong so I can completely let go and bring my character alive. Ive definitely evolved. We have estimated Kristine Opolais's net worth , money, salary, income, and assets. These cookies do not store any personal information. It shouldnt only be about that. An audition for the company\s new music director brought her debut as Musetta, fast-tracking her into solo roles and swiftly afterwards into leading roles including Li, Cio-Cio-San, Tosca, Tatyana, Lady Macbeth of Mtsensk, Senta. Her debut in the role (replacing Anja Harteros) came in Jonathan Kent\s Covent Garden staging in June last year, when she and Kaufmann got exceptional reviews. agars was an actor by training, quite famous in the former Soviet Union as well as Latvia, and I loved working with him. Ive done it in the past and I wont do it again, I can only bring myself to a role. Kristine Opolais is one of the most sought after sopranos on the international scene today, appearing at the Metropolitan Opera New York, Wiener Staatsoper, Deutsche Staatsoper Berlin, Bayerische Staatsoper, Teatro alla Scala and Royal Opera House Covent Garden. Ive never run from danger, Ive always run straight through it, so I picked up the phone to call Peter back and before I could say anything he said I knew youd do it. Tosca is almost defined by her jealousy and she has every right to be. I had to roll around in water in a very thin nightdress, it was a challenge (laughs). YOU ARE A DISRUPTOR ON THE OPERATIC STAGE, YOUR PERFORMANCES ARE UNAPOLOGETIC AND FULL OF FIRE. TELL US ABOUT YOUR APPROACH TO BUILDING A CHARACTER. This decision to unwind allowed the soprano to come to terms with a few aspects of her life. Tell us about your approach to building a character. We also use third-party cookies that help us analyze and understand how you use this website. When it did happen I found that I just got lost in the staging, I was very unhappy and I couldnt make it work. And Jenfa I have already said Not again!-her suffering and anguish is too terrible. Kristine Opolais at Carnegie Hall last year. David holds a Masters in Media Management from Fordham University. Hugo Shirley in his review of her Covent Garden Tosca in March 2013 said she acted with the level of detail and conviction that rendered the diva irresistibly compelling and sympathetic [] Michael Volle\s confrontation with Opolais\s Tosca was visceral and riveting, not least because the Latvian soprano so successfully captured Tosca\s playfulness, heart and, above all, classy glamour. Rene Fleming has said that you represent a new style of singer, what did that mean to you? When Im in love Im extremely jealous and when Im not, I couldnt care less. I know you should sing without being overcome by these feelings but, unfortunately, I am giving each performance more than 100 per cent. It was spellbinding. All the cast sounded as if singing in different rooms. My singing is part of the complete package. When you give birth, you dont really understand what is happening, she noted, adding that she thought the best was just to have her daughter with her all the time. When it did happen I found that I just got lost in the staging, I was very unhappy and I couldnt make it work. Certainly, difficult experiences, good and bad, gave me this opportunity to be strong, to not be afraid.\. A few years ago, Opolais found her approach being increasingly questioned and a lot of advice was given to her to sit back, restrain her instincts, and "focus only on singing." She listened and adjusted. Its important because it lets us remember who we are and the things we can and cannot do, soprano Kristine Opolais told OperaWire in a recent interview. If you want to just sound beautiful, save that mentality for the recording, but keep it away from the stage. Many would say that this is exactly what sets Opolais apart today. I stepped onto the stage, I opened my mouth and thankfully it came out. But then it was like my mind started talking to me, saying Kristine, when have you ever been so pragmatic?. Nelsons will lead a concert version of Shotakovich's "Macbeth of Mtsenk" on Jan. 30 with a cast that includes his ex-wife, soprano Kristine Opolais, and John Williams will combine with cellist Yo-Yo Ma for a concert on Feb. 22. It had to be more internalized. And while the character is onstage from the start, she doesnt really have much to sing until halfway through the work when she is confronted with the news that her son has died. 49,093, The bible of the industry, OPERA has been the worlds leading commentator on the lyric stage for over 70 years. She noted a desire to sing all three soprano roles across Il Trittico, adding that she feels most comfortable with Giorgetta from Il Tabarro.. Opolais and her management are understandably cautious about flagging up what lies further ahead, though the singer drops occasional hints, with Elsa inLohengrinpossibly on the cards. He sees that they might fare better if he could pawn her off on Geronte (capably sung by English bass Brindley Sherratt ), a wealthy geezer who can keep her in luxury. She gave a renowned performance in Madama Butterfly, only to step in for a matinee of La bohme the next day . Kristine Opolais "Ms. Opolais seemed to live with it, growing in stature as the evening went on and radiating the kind of aura - one that demands you watch her, and sympathize with her - that defines a star She is a performer with a tremendous future ahead of her. It shouldnt only be about that. Praised for his "vocally magnificent, radiant and distinctive tenor" (Opera Aktuell), this season Jonathan Tetelman signed an exclusive multi album agreement with leading record label Deutsche Grammophon and has released his debut album 'ARIAS'. Opolais has also been a rising name but has recently faced mixed reviews, with some critics hearing a thinning of her voice. Reluctantly, persuaded by her mother, she agreed to singing lessons, but the four-hour bus journey to Riga from her home in Rzekne was hard going and was abandoned after six months. Kristine, when have you ever been so pragmatic? Opolais remembers that, even as a five-year-old, she knew that she could make people notice her and, growing up, she was intrigued by the way in which a film actress could make the smallest expressions-a look, a turn of the head, a gesture-communicate and be meaningful. The 52-year-old said he spent two weeks working from nine in the morning until nine in the evening to learn the lead male role which he sings opposite Latvian soprano Kristine Opolais. I am not afraid. If I work at home, people tell me to take it easy. There was a lot of shit in my past, thats the only word I can use to describe it. She needs to see her mother happy also. This website uses cookies to improve your experience while you navigate through the website. On Friday, April 4, Kristine Opolais will sing Puccini's "Madama Butterfly" at the Metropolitan Opera for the first time. Her Mimi walks slowly, struggles in the effort and grows ever more lethargic as the evening unfolds. 11,266 If you want to just sound beautiful, save that mentality for the recording, but keep it away from the stage. I tend to bring more pain in my interpretations of Rusalka I relate to her differently because of my life experiences. The 52-year-old's peerless voice still in my ears, I stroll through Naples towards Teatro di San Carlo - the world's oldest continuously active opera house, and where last night he sang . The other side to her is that shes strong and some productions miss the opportunity to bring her complete role to the stage. At home, I am a mother, a daughter. Every artist needs to go through difficult times. In my mind, as strange as it sounds, Im performing to two big eyes looking at me. I feel pain in my stomach during this moment. I can relate to every part of her role and I adore her. Latvian Artist On Regaining Her Artistic Identity, Motherhood, & Puccini. Opolais noted that she felt this way because of her own personal experience of seeing her daughter living a better life despite the two being apart for some time periods. You need two voices. Dvok's music is of course very close to my heart, but as I continue my journey through different repertoire my voice is changing and this work is no longer a perfect fit for me vocally. "It's madness. Richard Eyre's elegant production, which sets the action in 1940s occupied France, was one of the highlights of the Met's 2015-16 season. She laughs: I am afraid of mouses very much and there was always mouse or some animal droppings on the bed, aaaagh! I stepped onto the stage, I opened my mouth and thankfully it came out. Adriana was happy to see me at home with her, but I was depressed, Opolais noted. Opolais, despite her glamorous demeanor, captures the fragility of a simple girl captivated by Rodolfo, but destined to succumb to "consumption" (as tuberculosis was known then). During his time at Fordham, he studied abroad at the Jagiellonian University in Poland. Ironically, its a gift because what upsets others doesnt affect me. She doesnt need poison. Opolais admits that for better or worse, she has always been one to do things her own way. 19:10 N'oubliez pas les paroles. Unfortunately, what Ive learned from this career is that thinking logically will get you nowhere. My process doesnt allow me to work that way and I have to accept that. But something clicked during the opening night performance. I couldnt remember a single line of text before I went on, I was in complete shock that Id agreed to this. Only in the enormous love duet in Act II did the stars come into their own, Opolais. My adrenaline is so high when I finish Angelica that I am suffering because I feel like I just warmed up my voice and I want to keep going, she confessed. I had been partying with colleagues after the production (laughs), there was no way I could do it! NEW YORK It wasn't the first time he'd heard her sing. Hiroyuki Ito for The New York Times. By Michael Cooper. I was kind of crazy, but this was obsession in a good way.\. As soon as you are limited and someone tries to put you in a box, it can kill you as an artist.. I immediately said no, what crazy person would have said yes? Shes very sensitive. [2] Opolais started her career as a member of the chorus with Latvian National Opera in 2001, and in 2003 became a soloist. I have a suitcase of emotions to choose from and an abundance of life skills. Her unapologetic performance style and ability to portray herself through her heroines has her comfortably placed as one of the most sought after international sopranos today. I was born in that moment and from then the contracts came flying in. I feel like I still have more energy and more to say. If you think "celebrity couple," Angelina and Brad might come to mind, but when it comes to the hottest couple in the world of classical music, it's Latvian-natives Soprano Kristine Opolais and Boston Symphony Orchestra's music director Andris Nelsons. If I only focus on singing a specific way, then I will lose out on opportunities of living the character and taking risks in the moment. Experiencing Opolais' Butterfly two years later is an even more heart-wrenching performance. Opolais, pure-toned and powerful, was affected too. I had to roll around in water in a very thin nightdress, it was a challenge (laughs). The soprano noted that she had been struggling with some physical issues for years but had not paid much attention to it until this point. Opolais\s maternal grandfather was Greek, so the occasion meant much at a personal level, and Athens was a reminder that a Maria Callas video given to Opolais when she was younger had been a galvanizing influence. roh.org.uk/productions/tosca-by-jonathan-kent. When shes done right, shes an extremely sexy and sensitive heroine. Invited to sing Tosca at the Theater Unter den Linden in 2006, she repeated the role there the following year. . https://youtu.be/onRYmtqVaQ0 Shes the classic representation of the role and she brought so much beauty to that character. Nor is her soprano as refulgent as those of some past Butterflys have been. Meanwhile, the soprano, who also started taking better care of her physical health, was rethinking her artistic identity and consulting with the people who she trusted most. 19:50 Mto 2. I am not a theory person-I would never teach, I have no ideas-but I have good ears. A few drops of rain fell periodically. It\s safe to predict that she will throw herself into the part with absolute conviction. Kristine Opolais (Tosca), Marcelo lvarez Mario (Cavaradossi), Marco Vratogna (Scarpia), Alexander Tsymbalyuk (Angelotti), Peter Rose (Il Sagrestano) Berliner Philharmoniker, Philharmonia Chor Wien & Cantus Juvenum Karlsruhe, Sir Simon Rattle. Ironically the nerves comfort me. MADAMA BUTTERFLY was never my favorite Puccini until the . That would set all the Opolais emotional guns firing. Can you pronounce this word better New York will be lucky to have her." NEW YORK OBSERVER Polina Viljun She is from Latvia. And I knew that that was not good for her either. This was followed in June of 2011 by her debut at the Royal Opera House, Covent Garden as Cio Cio San in Madama . And I knew that that was not good for her either. Opera gets no better than Antonn Dvok 's Czech-language "Rusalka" (water nymph). All women who are singers and mothers, I admire them tremendously because it is so challenging, almost impossible to do both at the same time really well.. When I get home, I try to just be there for my daughter. After all, this is an artist who decided to drop out of the conservatory despite being told repeatedly that she would never have an opera career if she didnt finish her studies. Adriana recovered miraculously and is a bright, lively and healthy child, but such experiences imprint themselves in the maternal memory and since that crisisMadama Butterflyis an opera that has utterly different emotional significance for Opolais-nearly losing her child herself makes Cio-Cio-San\s sacrifice almost unbearable. Website by Lenny's Studio. It feels like one big force watching me and keeping me safe. Opolais also credits the then Intendant of Latvian National Opera, Andrejs agars, with having taught her a great deal. Richard Eyre's elegant production, which sets the action in 1940s occupied France, was one of the highlights of the Met's 2015-16 season. - OPERA Charm Magazine Her net worth has been growing significantly in 2021-2022. All images displayed in this article are subject to copyright. Ive done it in the past and I wont do it again, I can only bring myself to a role. This masterpiece, popular worldwide, inexplicably took 92 years to reach Metropolitan Opera, where the . Groggy-voiced, Opolais. He also had the opportunity of interviewing numerous Oscar nominees, Golden Globe winners and film industry giants such as Guillermo del Toro, Oscar Isaac and John Leguizamo among others. When people ask me how it\s possible that I sang Aida or Tosca at that stage in my career, I have no idea. But then it was like my mind started talking to me, saying . Click Here: Described by the Daily Telegraph as the bible of the industry, OPERA has been the worlds leading commentator on the lyric stage for nearly 70 years. I don\t act it, I live it, but I feel I cannot do it another way.\. Of course, Butterflys experience last far longer than Angelicas, with the latter opera lasting only 50 minutes. You cannot be relaxed when you go on stage, if youre not afraid then theres something very wrong. I then thought about the good reputation I had at The Met, which I had worked so hard to build. You cannot be relaxed when you go on stage, if youre not afraid then theres something very wrong. I feel now I must ration the number of these performances, it is so hard. So the soprano decided that Adriana would remain in Riga to understand what it is to live in one place. But being so used to being on the move, Opolais struggled with not being able to perform regularly. During Adrianas early years, the soprano had taken her daughter everywhere she could. You have to be a bit more metallic without being too aggressive in the upper notes. When it did happen I found that I just got lost in the staging, I was very unhappy and I couldnt make it work. Shes the classic representation of the role and she brought so much beauty to that character. Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. In Act 3 Opolais somehow took on a pallor, gradually crumpling as life drained away, all the while sitting on an ordinary chair. At the end of Act 2, when everyone on stage is enjoying lavish parades, Opolais' Mimi struggles with her persistent cough, the lone dark spot on stage and a terrific dramatic gesture that reminds the viewer of the impending tragedy. But sometimes I didn\t know whether this muse would come to me today or not-will I hear the voice which I need to sing or not?\. 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