Since in 1996 was called by Claudio Abbado to represent the first time the role of Donna Anna, in the opera Don Giovanni, from Mozart, Carmela Remigio (Pescara 1973) He has played in more than 350 occasions, becoming a reference for this character. From the 19 Debuts in June Liceu Barcelona Donna Anna junto a Marcusz Kwiecien. Before the premiere talks about his career and concerns before this Don Giovanni.
Brío Clásica: After playing more than 350 Sometimes a role, such as Donna Anna in Don Giovanni, How the freshness of the character remains and avoid falling into a rut?
Carmela Remigio: I have to confess, that is a role that never ceases to amaze. Whenever I interpret, meeting new details, because Donna Anna is a very rich role, from both musically and theater. Each note is intended to emphasize the psychological character. Y, Fortunately, I have had the opportunity to learn from great teachers. We can not forget that every night you get on the stage with different colleagues who play Don Giovanni, Don Ottavio, Donna Elvira ..., and relationships and energies are different. Y, Of course, are also different readings of the work from the point of view scenic. All this makes, As much as you interpret that role, never fall into the routine, because it is practically impossible to always do the same Donna Anna.
B.C. How a character is built like this? How is Donna Anna Carmela Remigio of?
C.R. I try to be as faithful as possible to score, both the text and music. So I worry a lot to interpret each and every word accent to stay true to the character. For me, Donna Anna is a young woman, repressing their sensuality and passion for a man to her as fascinating as Don Giovanni, a passion that burns inside and that will not heal in his life. He wants revenge because Don Giovanni has betrayed her with other women and do not know how to survive the pain of having lost a parent and have discovered that the man she feels an inordinate passion, It is not only yours, but also men from other women. He shouts revenge because he can not have Don Giovanni, the love of his life. Donna Anna is a very complex character from the psychological point of view. The women mozartianas, In my opinion, They are one of the best gifts that made us Mozart sopranos, because they are full of wonderful arias that perfectly describe the emotional state, moral and social of all the characters. I think Elvira is a Baroque character, a character more closely linked to the past; instead, Donna Anna represents the future: "Non mi dir" may be the first bel canto aria with recitative, one cantabile that approximates a "Casta Diva" or "Al dolce guidami" of Anna Bolena ... is a final cabaletta with a stratospheric agility ... Mozart, Really, has left us an extraordinary music to discover all these women so different from each other ... a hundred years later this is what will make Verdi with music and Parola…
B.C.:What does having a new character to become part of his repertoire?
C.R. Well, especially, It must be suitable for me from the vocal point of view. Secondly, the voice has to be able to meet the temperament of the character and then everything else develops work, theatrical technique and interpretive Ideas. But as I say, for the election of a new role it is crucial to be vocally appropriate.
B.C.¿Cómo recalls his experience with Claudio Abbado? What did you learn the Italian master?
C.R. For me it was very important because it happened early in my career. A great teacher as Claudio Abbado, I learned what the musical rigor, that is to say, to read music with rigor. He taught me that Mozart should be clear language, transparent, energetic, and the musical language of Mozart is synonymous with rigor ... In addition to Mozart, I also sang Verdi with him and I can confess that his Verdi was equally rigorous. When you look at great directors like him, really learn that above all as the first rule is put at the service of music.
B.C.¿Qué can tell us about high-tech production platforms and stairs impossible presenting Kasper Holten?
C.R. In my opinion, It is a very interesting proposal, because it is very well worked from the point of view theater; There is a great dynamism and a clear psychological differentiation of characters, without falling into bad taste and without transgressing the text. In fact, when you read the script you realize that everything you do makes sense. It is a very elaborate reading. And the staging with the house tour, somehow, It symbolizes a bit this tangle of feelings in the characters.
B.C. Opera is a multidisciplinary art, not enough to have a good instrument. How a career that requires many disciplines master prepares?
C.R. Nowadays, the singer is demanded not only who can sing, but recitare and that its interpretation is credible; the acting interpretation is as important today as vocal. I have not studied to be an actress, but over the years I have observed a lot to my professional colleagues and I have tried to learn noticing theater actors, I often go to the theater and try to learn from all theatrical shows, I also go to the cinema ... In addition, I also learn from the stage directors, I always ask them for advice and talk a lot with them. The fact that I had the opportunity to work with great directors like Peter Brook, David McVicar, Graham Vick, Pier Luigi Pizzi, Robert Wilson, Mario Martone and Damiano Michieletto, among others, It has allowed me to grow and mature as a performer. For me, talk, discuss positive and talk to the stage manager is a good school to learn and grow as a performer.
B.C. You're a very expressive and powerful woman on stage, What does it mean to you sing?
C.R. It's my way of expressing myself emotionally, as a human being. I like to show that emotional part besides the artistic.
B.C. It started in music through the violin, the song came almost by chance. When it was decided to develop an operatic career, What is expected and what is finding?
C.R. The truth is that I had never imagined a life and a career as a singer, but as an instrumentalist because I was studying music ... and if I'm honest, I that's Lyric Theater, initially, I took it as a game ... I did not take it seriously, but then I realized that through song could better explain music ... Actually, we can say, that rather than my choice, It was fate that chose me.
B.B. Why do you think that, in general, so few baroque works are scheduled?
C.R. Well I have no idea ... say, which it is a baroque mystery. To me I love the baroque. I do not know why not show more, but when we do a baroque title always seems to fill the room. There is an audience that loves the baroque and complains that there is hardly Baroque opera houses. I sang Gluck's Alceste in Venice and I remember every night we hung the sign "no entry".
B.C. We miss to hear it again in Madrid, Are you planning some work soon?
C.R. Just after Don Giovanni in Barcelona, I'm going to Madrid to do the Contessa of Le nozze di Figaro at the Summer Festival of San Lorenzo de El Escorial, the days 20 Y 22 of July, and I will be in San Sebastian Musical Fortnight day 13 Y 15 August and December ..., I will sing Verdi's Requiem with the Tenerife Symphony Orchestra under the baton of Michele Mariotti ... also return to the Campoamor Theater in Oviedo to sing Mozart ...
Interview: Paloma Samz