Interview with Jessica Pratt

Jessica Pratt

They say it is the natural successor to Joan Sutherland. Not in bathroom, Australian soprano is considered one of the best international performers on his rope. Now comes to Spain, Palau les Arts Reian Sofia of Valencia which debuts, and he does so with paper Amenaide, Opera Tancredi Rossini. A great opportunity to listen to songbirds skills of this great performer.

Brío Clásica: If I'm not mistaken, You tenor and daughter, somehow, He has always had links with lyric. What time he was aware of to pursue singing as a career and at the beginning of this planned?

Jessica Pratt: My father taught us all about music and my mother all about the visual arts; I think it's natural for parents to convey to children all their knowledge and passion for the things they love. In my case both my sister, my brother and I have benefited from a childhood filled with music and art. I decided to try my way as a singer when he was twenty and few years and I decided to move to Italy to expand my singing studies. In Australia I worked as a clown, as a secretary, as a clerk and even the McDonalds to pay for singing lessons, travel and all that meant starting a career as an opera singer; later in Europe I won a scholarship that allowed me to focus only on the study. I took all the opportunities that were put in my way, replacing colleagues who canceled several times; then it said that this was my big chance. I think we live in a world where we expect it all happen very fast and actually in my case I think it took a long time to stabilize my career; that is to say, there was a turning point that changed everything, They were just a cluster of small things, opportunities, that eventually, constancy and perseverance built my career.

B-C: No doubt the bel canto in which his voice feels more comfortable. Does this same sense from the point of view dramatic and interpretative?

J. P: Fortunately I love the bel canto; I find it extremely grateful both from the point of view of a spectator as interpreter. So actually I say that I feel at home in this repertoire from every point of view. I spent a lot of time reading romance novels that were developed in the Tudor period, an era that I love, and I really enjoy exploring this time through the bel canto operas I play.

B.C: In one occasion he has had to say no to a job or project?, for what reason?

Many times, usually because I am not free on the dates proposed if I'm working elsewhere and sometimes because the role is not suitable for my voice. There are young singers who have a certain haste and sometimes accept roles inappropriate. Thus, It is very important to know what your limits are and know how to fight for your future, saying no when you know that what you propose is not for you. Early in my career I had to deal with important people in this business for this reason and was complicated and difficult to say no when I had no money. The most memorable story was during a fight with an agent asked me who or what gave me the freedom to reject a very important contract that I was offering. When I made my debut at Covent Garden with the Queen of the Night, at the beginning of my career, I had so many offers for just that character that limited me for a while debuting other roles, so I decided to remove the repertoire. He was very young at that time did not want to pigeonhole, however I returned to play the role last year at the Metropolitan Opera. Now I feel that my career is established I love coming back to sing occasionally, although I prefer the heroines of bel canto.

B.C: In a preferred representation, What the stage director will all guidelines for interpreting or have some leeway on stage?

J. P: I do not think anyone likes to be used like a puppet that move around the stage. We interpret the opera jointly wrote the composer and librettist in collaboration with the management team chosen by the theater scene. It is fantastic when the stage manager has a clear and consistent idea how to tell the story, but definitely it has to be a team effort and collaboration among all.

B.C: What it does play an almost fetish character for you as Lucia?

J. P: Lucia was the first character I played and certainly the more times I've sung. When I sing I feel like I get home. Lucia is fantastic both dramatic and musically; a lot of demands at all levels; It can be interpreted in so many different ways that every time I sing encounter new details, nuances I had not seen before; all this is a role that fills me with satisfaction. On one occasion I had to sing at La Scala and simultaneously in Amsterdam; productions were so utterly different from the point of view scenic as vowel came a time when he thought he was singing two different operas, but the truth is that I liked both. Wagemaker in Amsterdam Monique had created a fabulous version in which Lucia had a horrible nightmare; all the action took place in his room full of broken dolls that come to life, everything was dark and culminated in his suicide, while in Milan Mary Zimmermann he had created a much more traditional Lucia; the character lived in a large manor house cut off, howsoever half and suffered a nervous breakdown; after having injected a sedative just off stage after the mad scene. Both productions were opposed but the fantastic and exciting time, each focused on his speech.

B.C: How do you see the evolution of his voice with a view to addressing new repertoires?

J. P: True, the voice changes over the years, mature and can cope with a heavier repertoire. At the moment I do not intend to change; I have debuted over 35 roles with which I still feel very comfortable. This year finally add some new comic opera character and I like to have fun on stage for another record; I even like to sing some zarzuela someday. Le Comte debut just Oryy Don Pasquale will debut in Bilbao and Barcelona this year. Soon I will sing first Zerbinetta and a couple of more dramatic roles donizettianos I really want to sing.

B.C: How the life of opera singer harmonizes with personal life? What would you like to do when their work permits?

J. P: This year I'm away from home since last February to August, jumping from one production to another. I feel very fortunate to have a partner who has his own business and is happy with having to travel often. When I have time to go home take the opportunity to spend time with our dogs and cats, paseándolos, reading, improving things around the house and my partner going crazy because I leave things half done because I have to travel for months.

B.C: Why do you think it is so difficult for young people interested in opera?

J. P: I do not think it at all difficult; I think young people simply do not offer opportunities to enjoy opera. Every time you go with a friend or young friend to the opera eventually become passionate about gender. Children, and adolescents are usually people with a very open mind, more than we, and they love to do adult things. You just have to let them accessible. I have seen in many places that encourage youth deals, as two tickets for one to certain ages, etc ... and the theater is filled. Whatever always take advantage! The reason why we see elderly people in the theaters is because when you go to the opera, this grabs you and you can not stop going in your life, and that is something very positive.

B.C: When can we see her perform in Madrid?

J. P: This summer I'll be rehearsing in Madrid for the production of I Puritani the Teatro Real take the Savonlinna Festival in Finland and I hope to announce soon my debut at the Teatro Real!

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