Violetta Valery, Liú y, especially, Mimí. Anita Hartig is the Mimí of the time. Versatility and features of your voice and sensitivity and dramatic on stage, They make the Romanian soprano voices one of the most sought after by pincipales
theaters of the mundo.Habla for us before his upcoming performances in Spain, in Granada and Barcelona.
Brío Clásica: We had the great fortune to hear his Mimí of the Royal Theater, role you can say that it is an expert. Do you think Puccini requires a special technique for interpretation?Anita Hartig: Very kind of you you are saying I'm an expert. Puccini is the composer I most sung throughout my career and I feel I still discover new things to respect, so the conquest is not over yet. The technique is and must be the same for all, but with Puccini many emotions and feelings can get hurt and you have to keep some distance required. I mean being involved but without forgetting that you have to sing well and not only act. I have often focused more on the interpretation and I was out of breath while singing. The master is always to find the equilibrio.Actualmente is a sensitive issue because certain stage directors want you to move all the time on stage and act, but they forget that it is necessary to breathe to sing the difficult parts. Opera is not theater or theater prose, is sung drama and action needs more time because a word can be written to 4.6 bars and repeat them in a register higher, so to be credible we must be able to pay full attention and a lot of concentration. And of course you want to respect the legacy of the composer. So for me the score is a bible, a sacred manuscript that I have to respect.
B.C: Mozart is another of his favorite composers, Which of the two composers he feels more comfortable vocally?
A.H: Mozart is the one that requires a cleaner edge, narrow, especially elegant and cured. I enjoy both composers for different reasons. Mozart for his musicality so simple, unique melodies, pure, Elegant and some heavenly way, Meditative and also because I have the feeling that many times makes us a wink through his music. Now thinking of La Contessa, which I debuted at the Met in New York recently, I think of the musical phrases, are not as deep and visceral music and Puccini. Puccini somehow need low support and meatier sound. I would say that the former is more celestial and the other more terrestrial. But this is just an idea to think more deeply, while I am waiting to sing more of both composers and different roles in the future.
B.C: Onstage has great expressiveness and drama, How important is a good dramatic training?
A.H: That's another very interesting topic for me and more time is needed to talk to respect. As I said, the balance between singing and acting create an ideal opera. To find that balance would have to work, from my point of view, as theater actors, but not the same. We use breathing with the text a bit like theater actors, but not the same. To use our breath over the text and the sentences sing long, higher or deeper, more air is needed than merely declaim. We should, along with director, work on the text of an opera as actors, but being sensitive to the above, acting in accordance with the phrases sung and declaimed. Also respect and give due attention to respect for the musical parts and give meaning to the interpret, but never more, overacting, since the phrase sung will suffer shortness of breath and care.
B.C: His career has been linked for several years at the Vienna State Opera, What he brought his way through this theater?
A.H: I had the great fortune of being in the Oper Vienna for six years. Singing from smaller to larger roles, replacing singers and learning different repertoire in other languages with very good companions, in different distributions. Watching the best singers of our time on stage, Inspired by them, out for coffee or lunch and seeing that they are simple people, I like that. I thought the artists were pretentious and far, many of them are but most are thoughtful and generous.
B.C: And now he is in Madrid and we are happy about it, What does Madrid have decided to live here?
A.H: I am also very happy to be here, Thank you. Madrid has a lot more sun and atmosphere, especially amazing food!! The people are warm and the number of museums is huge. In summer I had the opportunity to visit some cities in the north and next I decided to go south. I keep discovering the country and I find it very inspiring.
B.C: What do you think the Spanish repertoire, He has some of his works in his repertoire?
A.H: Unfortunately I have not had the opportunity to sing in Spanish yet. As there are many singers who specialize in zarzuelas, I not think I can do better than them, and I'm not a singer who wants to sing all. I have my own repertoire and try to improve it.
B.C: Javier Camarena said a few days thinking about their new roles over four years ago view, How you structure your career? New roles, Are the plans or the voice that calls for changes?
A.H: It is a mixture of both. Depending on the nature, lla voice can, over time, become more complete,have more body, to put it in some way. Sometimes circumstances force you to try out new roles for those who are not ready, or sometimes, I pass my case long before encompass a dramatic role. I am perfeccionsita, and before advancing like to take me all you can in that role. And as I'm constantly change as a human being, I have other experiences in my personal life that inspire me for the roles I sing, then I feel adding layers and character to the character every time I sing.
B.C: What is your relationship with the baroque repertoire?
A.H: I actually started singing church music and pieces by Bach, Philipp Caudella and other composers with a group at the beginning of my studies, but I can not say that I find very appealing to my mind and my voice. I also spent a lot of time with the music of Baroque, maybe it's just my ignorance talking. But, again, I do not want to sing all … just what I find interesting and exciting.
B.C: Currently, How would you define the characteristics of your voice? Being fond of painting, A color that defines it?
I was always a lyric soprano and always will be. Many of the roles that interest me are lyrical both musically and in terms of the character. sensitive women, They find love, They sacrifice for love, and in many cases die at the end, that's a lyrical character who needs a lyrical approach to singing.
So, even if some of the roles has dramatic accents or coloratura, usually they have many lyrical moments, with long sentences, long breath, arias reflection, prayers and infatuations.
If there are times of increased tension as a great outburst of anger, of helplessness and emotional struggle, as the second act of La traviata, or the end of Marguerite or e triplet Antonio, some moments of Mimì at the beginning of the third act, all are lyrical with some poignant moments.
B.C: In this world of opera, so competitive and so many good professionals, What it is for you the originality and how it is achieved?
A.H: The authenticity brings originality. Allow bring your understanding, experiences, sensitivity, creativity and temperament stage. In fact, often you have to crush the ego and beliefs to avoid disagreements with colleagues, Conductors, stage directors and keep everyone happy.
On the other hand, many opera lovers say they no longer have personalities as "the golden age of opera". !Today would not be tolerated! You grow up with a strong personality and principles having space to share your perspective on things and not being chased by them, or because they share a common view.
But to have a peaceful environment at work all have to make concessions, not only in theaters.
I think the final music will always win above all else and is all that will survive.
B.C: Coming soon, Are you planning to incorporate new roles?
A.H: Yes, You will debut in the role of the Countess in Le nozze di Figaro, Symphony No. 8 Mahler and opera Mariella Piccolo Marat, in concert, will be new to me.
Y, Of course, even if I'm not singing certain roles I am now beginning to prepare fragments
B.C: When will we have the opportunity to hear it again in Madrid?
A.H: In Madrid two seasons for now, but until then I will have a Mahler 8 in Granada, under the master Pons, and Barcelona, a new production of La Boheme.
Interview: Paloma Sanz