Eleonora Buratto speaks for Brío Classic

It may be the sweetest or most furious Mimí Elettra, in a magical duality security product in an impeccable technique and a consolidated instrument. Claimed by directors like Riccardo Muti, Eleonora Buratto has become one of the strongest performers of his rope.
Muses always visit when working, ensuring the greatest stimuli listen. After his successful Elettra in Mozart's Idomeneo Teatro Real, we can again enjoy Liceu in Barcelona with Luisa Miller. Do not miss it.
During the last few seasons we have been fortunate to hear different roles in Spain, at the Royal Theater and El Liceu. What is more attractive to the interpretation, Elettra wickedness or naivete of Mimí?
The truth is that I think Elettra is not so bad and that is not so naive Mimí. I explain better: A love and excited to be able to live with the man she loves and to return to his homeland woman has no right to feel and externalize their rage? Elettra is a woman with a very strong character, but like the other characters in the play is the destination slave, the true deus ex machina of the whole plot. Elettra not concocts no cheating on his rival to win the love!. As for Mimí, He is a weak woman health, but I would say it has very clear ideas about what he wants: it is she who waits for friends to go and Rodolfo left alone, before knocking on the door; it is she who blows out the candle to have an excuse to talk to Rodolfo and, in the end, it is she who takes the reins of the situation at the time of crisis Rodolfo, in the third act. Good, the truth is that both are two characters I love and, I am not able to choose! mimi, I love her for that sweetness of phrases and singing Elettra, by force not to accept head down your destination, by his rebellious character and that is the role that has tested me on stage…because it coincided with the death of my mother. Elettra has saved me in the most painful moment of my life, and will always have a special place in my own corazón.El Currentzis, a great lover and student of Mozart, He chose to sing Elettra last May at the Diaghilev Festival in Perm, Had they worked together ever? Were you surprised that the call? How he was working with the famous and controversial director Teodor Currentzis?I had never worked with Master Currentzis, although he had auditioned in Madrid for a Traviata 2013, and really nice is that when we met again perfectly remember me. I was thrilled to know that I had chosen for Elettra ... long overdue opportunity to work with him and, It has been an experience that has exceeded all my expectations! I was in schock at the first rehearsal with the orchestra (without any musical rehearsal before), listening to my first aria di tempo ... then, that same afternoon, Currentzis teacher invited all cast the opening concert of the festival and there I was in love with her address and the wonderful orchestra formed. The next day, I just got carried away ... I trusted fully in their tempi and make music together, and it has been one of the most beautiful experiences of my professional life. Thank you, Maestro!What attracts you most of the Verdi heroines, his vocalism, his character ... and what role verdiano would like to play in the future?
When more roles on board and study verdianos, I realize that it is my own voice which demand, so I certainly like his vocalism. But to say that is only so, It would be too simple ... Probably, I like the mere fact that Verdi is the composer. His enormous capacity to make credible the characters derived from his sincere writing, a script that comes from the heart. I feel myself when I play that character and temperament with the Verdi heroines. always respecting my vocal career and expanding the repertoire, I hope to have chance to debut Otello and Don Carlo, and later, in the future, maybe, They could also get Trovatore and Aida.
Now comes the Teatro del Liceu with Luisa Miller, a role here is closely linked to Montserrat Caballé. When a character so closely linked addressed a singer reference, Do you feel other liability?Of course, the responsibility is great, but I do not think anyone expect to hear another Caballé, and much less think I can be. The biggest responsibility I have with myself, and the best way to interpret a wonderful character…You are fond of other great music, specifically the rock. Do the feelings you have now to take the stage of a theater are very different from those he had when he sang with his rock band?
Yes, sang in a cover band ... He sang rock songs Anouk, Alanis Morrissette, Skunk Anansie, Tina Turner and Toto! The initial excitement is the same, but after interaction with the public it is very different. When you are singing rock, the audience is an active part of the concert ... you can sing and the same singer can involve the public in the choruses and choirs; Besides, between one piece and another, You can interact, presenting the piece, telling a little story or asking questions. Instead, during the execution of an opera, The audience listens attentively in silence, that is to say, no such interaction with the public but is something different, ... deeper interaction with the public is through the emotions, baring our soul to play a character. And the excitement of the public is a reflection of those emotions that have been achieved transmitir.Los stage managers are increasingly leading role in a production. Have you ever seen in a compromising position by demanding stage manager?Say I'm not always totally agree with stage directors, but also, I have to say, I've been fortunate to be able to find a compromise with them on the interpretation. When there uncomfortable stage movements, I ask a solution most often found together. Perhaps he did not accept things that might disturb my song, but sometimes I have other distant accepted interpretations of my visión.¿Cómo she met her teacher, Paola Elisabetta, and what it means for his career?I heard about Paola at a time of crisis with the song in 2009 ... I wanted to leave ... thought he was not capable and lyrical singing was an unattainable dream. In January 2010, I made my first lesson with Paola, and immediately I realized that I had found, at last, the correct master. The first years were mainly technical impostación, but then I started preparing her roles. It is a relationship that has evolved and grown over time; I do not want to say, now no longer consider technical, must never stop studying, but, obviously, with the years, I have consolidated the technique and I could also devote myself to the study of the technique in the repertoire. Paola has been and is an important reference figure ... every singer should have a picture of this guy and I feel very afortunada.Tras his debut as Elettra in the Royal Theater before returning to sing at the Teatro Massimo of Palermo, was a great success as Amelia (Simon Boccanegra) with Placido Domingo and Francesco Meli at the Wiener Staatsoper, Is it in a golden moment of his career? What other roles have on the agenda and what roles you would like to debut in the near future?Yes, the truth is that I am living a beautiful moment of my career, fruit of much study, patience and good choices. And I hope it lasts a long time, because I put everything in my power to make it last. The next major debuts will Così fan tutte in Tokyo, and Rusalka in Amsterdam, in March and June 2020, respectively. But the season is coming, There will also be some very nice projects: Turandot at the Met in October, el de Verdi Requiem with the Orchestra dell'Accademia Nazionale di Santa Cecilia, directed by Mikko Franck, Bohème in Berlin in December / January, and then in London in February. Also I engrave some arias by Beethoven in Klagenfurt and finally, in summer 2020, I will debut at the Rossini Opera Festival singing a recital and Stabat Mater. Y, Besides, There are other exciting debuts, With el, la Scala…Now that mentions his debut in the Rof, just received rave reviews with his latest recording dedicated precisely to Rossini: Petite Messe Solennelle. You who has also sung the Stabat Mater, What would you say are the characteristics of rossiniano language for soprano in these two sacred works? Do you like the Rossini sacrum?Rossini singing the sacrum is, In my opinion, a real challenge. effectively, I've sung both Stabat mater Messe Solennelle as Petite, and although they have not been many times, itself have been enough to fall in love with that intensity of the writing of Rossini , their ability to use language that requires us to singers a true virtuosity, and involves completely immersed in the text, in meaning, nobly and dialogue with other soloists and instruments. I sing Rossini completely seduced by the music I listen, perfectly supporting parts dedicated to the soprano. I think, for example, in the "Crucifixus" from the Petite Messe Solennelle, in the musical climate as serious and rich in pathos that gives meaning to the text and that seduces me and moved me. Rossini sacrum, Besides, It fits well with my vocalism and my idea of ​​beauty is a woman committed musical.Usted, not only with his profession, also it faults that we know exist, but toward which we do not usually look. Tell us about some of these issues and convince us not to be mere espectadores.Sí, the "butterfly children", say that sounds so sweet, but whose disease, bullosa epidermólosis, it's terrible. These children have such fragile skin that require painful daily treatments. They are more exposed than anyone to infections, and for them, even the caresses of the mother can be painful and dangerous. It all started when I met "my first butterfly", sweet and very strong, an example for all of us. Today, research offers some opportunity more, but we are far from having found the ultimate recipe to combat bullous epidermólosis yet. I try to make this horrible disease, getting involved with Debra Association South Tyrol - Alto Adige. I would like to sensitize everyone to collect more and more funds allocated to research, putting my voice available for the necessary collection of funds.

What do Eleonora Buratto usually hours before going on stage? Do you follow any ritual? What is never missing in your suitcase?

Before taking the stage, the only ritual I follow is to pray and repeat the most difficult passages. In my luggage, something that never lacks is a good book and the score of the following production.

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