2021 Final Note Magazine. Most importantly, Ive no interest in making beautiful sounds, my voice doesnt drive me in the slightest and its a small part of my expression. Musically and emotionally-and, with Opolais, the two seem inextricably linked-it was a potent time. A few years ago, the soprano noted that when she first had Adriana, singing Butterfly was mortifying because she felt the loss of a child very intensely. Adriana was happy to see me at home with her, but I was depressed, Opolais noted. I never had to ask for anything, my mother always believed in me and my dad was loving and sweet. Again, the comparison with Butterfly is inevitable. Read the complete interview via OperaWire, Valerio Galli, conductor Arnaud Bernard, director, Boston Symphony Orchestra Andris Nelsons, conductor. 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. 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. 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. Unfortunately, what Ive learned from this career is that thinking logically will get you nowhere. Opolais also credits the then Intendant of Latvian National Opera, Andrejs agars, with having taught her a great deal. My singing is part of the complete package. But, at the end of each one, I could feel the vocal strain and I knew it was not good.\, It was her fellow Latvian Elna Garana\s suggestion that Opolais seek lessons from her own teacher, Margreet Honig. And when teachers asked me, What you will do, Opolais, with your future life? Then came trauma for the couple when, at three months old, their baby needed life-saving surgery. I just remember I wanted it, and I thought I could do it. Ironically, its a gift because what upsets others doesnt affect me. In this honest and humble interview with. "I started to lose voice, presence, colors, everything," she revealed. She needs to see her mother happy also. In 2008 she returned to Berlin and the Staatsoper as Polina in Prokofiev\sThe Gambler, with Daniel Barenboim conducting. 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. Continuing our exploration of #50YearsAgo, heres FREE access to the whole issue. A combination of self-doubt and the financial costs made her leave. Only in the enormous love duet in Act II did the stars come into their own, Opolais. She had to give her daughter a better life, but she also needed to go back to taking the artistic risks she always had. The soprano chronicled how the challenge of taking on the opera for the first time made rehearsal period challenging. Unfortunately, what Ive learned from this career is that thinking logically will get you nowhere. One might imagine that an international star like Opolais would be able to find a plethora of opportunities in Eastern Europe or specifically in Latvia to perform, but the soprano noted that it becomes increasingly difficult for her to dedicate herself to her art in her home country. Opolais\s revelling in her first immersion in opera took her by surprise, but not so her mother, who, possessed of a fine dramatic voice herself, always recognized her daughter\s potential. Now Im strong enough to say no. My decision to say yes that morning was an enormous catalyst in my career it changed everything. [2] Opolais started her career as a member of the chorus with Latvian National Opera in 2001, and in 2003 became a soloist. You are a disruptor on the operatic stage, your performances are unapologetic and full of fire. 19:10 N'oubliez pas les paroles. I have built my career stepping in, but the most terrifying was at the Metropolitan Opera. It feels like one big force watching me and keeping me safe. The Met's first new production of the Czech favorite since 1993, gives title honors to Latvian soprano Kristine Opolais; seen Saturday, Feb. 25. It is a heavy role for the soprano. It was only in the second year I started to believe in myself. 17:05 Affaire conclue, tout le monde a quelque chose vendre. 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. 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. Rehearsals were minimal for all three operas, given that conductor Bertrand de Billy had to split up his own time with rehearsing three different scores, while the Met Operas own technical departments had to dedicated separate blocks to the three works individually. Then theres the fact that Adriana isnt really a big opera fan. "It's madness. 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. In Act 3 Opolais somehow took on a pallor, gradually crumpling as life drained away, all the while sitting on an ordinary chair. Our personal reactions are very unique to who we are, so my performance and reactions should be different to another singer and vice versa. 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. RENE FLEMING HAS SAID THAT YOU REPRESENT A NEW STYLE OF SINGER, WHAT DID THAT MEAN TO YOU? It was a turning point. Writing in opera about her performance inThe Queen of Spadesin Riga\s 2005 Opera Festival, Shirley Apthorp wrote: Kristne Opolais was a Lisa with the lithe beauty of a wild animal, fabulous passion and a melting, burnished, gripping sound.\ Significantly, the conductor, also much praised by Apthorp, was Andris Nelsons, the young music director who\d auditioned her, the man who would become her husband. In fact, the experience went by so quickly that the soprano didnt really understand the opera or character when she arrived at the Met in October for rehearsals. I then thought about the good reputation I had at The Met, which I had worked so hard to build. Now Im strong enough to say no. October 2015 in People. When shes done right, shes an extremely sexy and sensitive heroine. I feel like I still have more energy and more to say. "It's madness. Coming home from work, she knew immediately if the young Kristne had been singing that day-the hairspray can was no longer where she\d left it and, microphone in hand, Kristne would have been giving her best Madonna routine to an imaginary audience. My process doesnt allow me to work that way and I have to accept that. It was the beginning of a beautiful friendship. The results were widely lauded and Opolais couldnt be happier. at midday for the HD broadcast. Where does this energy come from? Concert (Konzert), Various Concert/recital/oratorio. Being the daughter of Andris Nelsons and Kristine Opolais, she has to be sensitive. I dont think Ive ever been so frightened in my life walking to the theatre that morning, it was horrific. . If I have to say something nasty with bad energy, then that cannot be beautiful. The other massive factor was that it was a live HD broadcast going out worldwide and it would be there forever. Her net worth has been growing significantly in 2021-2022. And to top things off, in her private life she just didnt feel she was able to give her fullest both artistically and as a mother for Adriana, who will turn seven at the end of December 2018. The role is often noted as a mini-Butterfly, as both Angelica and the heroine of Puccinis Madama Butterfly are made to suffer for the love they have for their children and ultimately commit suicide. So for a better part of 2018, the soprano spent more time in Latvia to be with Adriana as she commenced her elementary school studies in Riga. Its hard to be so-so everywhere so I wanted to give myself time to recover psychologically.. His 2014 interview with opera star Kristine Opolais was cited in a New York Times Review. https://www.operaphila.org/whats-on/in-theaters-2023-2024/. But as Adriana grew, she realized it was selfish. In 2007 too, Tosca was the role in which Opolais made her Greek National Opera debut. Thats why for me it is a bit tricky to have to sing after that. Yet vanity doesn\t come into it-on stage Opolais looks as good or as bad as the drama demands. I tend to bring more pain in my interpretations of Rusalka I relate to her differently because of my life experiences. When she laughed, she'd lean forward and create a triangle from her shoulder to her hand with her left arm, bending her wrist. We talked over coffee and some tiny cakes. She doesnt need poison. Latvian soprano Kristine Opolais, who has sung the title role at Covent Garden, played the young temptress whose brother (baritone Massimo Cavaletti) is packing her off to a convent. I had just performed my debut in, and I got a call the following morning at 7.30am from Peter Gelb asking me to do. These cookies do not store any personal information. Every artist needs to go through difficult times. Biography[ edit] Opolais was born in Rzekne, Latvia, and studied at the Latvian Academy of Music. I immediately said no, what crazy person would have said yes? There was a lot of shit in my past, thats the only word I can use to describe it. At home, I am a mother, a daughter. June 16, 2017. This website uses cookies to improve your experience while you navigate through the website. In the first year I thought I should give up this profession. Perceptions of her voice still vary, but the elements she brings to a performance, translating to both CD and DVD, are undeniable: natural bearing, a vibrant intensity, whether ecstatic or deranged, and the sheer physicality of her characterizations. . John Rockwell wrote in opera: She acquitted herself admirably. Vairkus gadus bija Latvijas Nacionls operas soliste, vlk Minhenes [2] , Berlnes , Milnas , Vnes un citu pilstu operu soliste. To find out more about Kristin Opolais see: kristineopolais.com, For details about Tosca at the Royal Opera House: This masterpiece, popular worldwide, inexplicably took 92 years to reach Metropolitan Opera, where the . Concerto de Ano novo. Now the soprano is at the Metropolitan Opera in the title role of Suor Angelica as part of Puccinis Il Trittico. The production has placed a huge spotlight on Plcido Domingo for his 50th anniversary, but Opolais, who performed for the 50th time on the Met stage in the opening night performance, has found herself fulfilled by the experience and widely lauded for her interpretation. Ms. KRISTINE OPOLAIS: With this I was preparing myself a lot more, because it was a lot of text I didn't know, it was very interesting studying the translation myself and asking a lot, it was quite a long preparation time, and of course with every debut role you need time. There is something to be said for embracing the vulgar in Puccini. Home; Happiness; Motivation; Reading; Quoatable February 26, 2023 Motivation, Wisdom YOUVE MANAGED TO STEP IN FOR PERFORMANCES THAT VERY FEW SINGERS WOULD HAVE BEEN ABLE TO DO. The results were widely lauded and Opolais couldnt be happier. A few drops of rain fell periodically. 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 never use a score when conducting my orchestra Does a lion tamer enter a cage with a book on how to tame a lion? The great conductor Dimitri Mitropoulos was born in Athens #OTD in 1896. I am not afraid. If you dont take risks, youll never drink champagne. I have built my career stepping in, but the most terrifying was at the Metropolitan Opera. But looking back, it was Latvian soprano Kristine Opolais's 2004 performance of Tatyana's "Letter Scene" from Tchaikovsky's . If you want to just sound beautiful, save that mentality for the recording, but keep it away from the stage. Follow You have to listen to yourself and trust your gut, its all about your intuition. Shes even struggled with physical ailments that had been bothering her for years and were now interfering with her ability to perform. Opolais instantly made up for lost time: she listened and learnt, staying on when the chorus wasn\t needed, absorbing everything. When Im in love Im extremely jealous and when Im not, I couldnt care less. 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. And when excellence extends beyond the name at the top of the bill, we end up with a truly unforgettable performance like the one heard at the Metropolitan Opera Thursday night. Rene Fleming has said that you represent a new style of singer, what did that mean to you? Today, I walk on stage and I completely transport into the character. I stepped onto the stage, I opened my mouth and thankfully it came out. Prior to creating OperaWire, DAVID SALAZAR, (Editor-in-Chief) worked as a reporter for Latin Post where he interviewed major opera stars including Placido Domingo, Anna Netrebko, Vittorio Grigolo, Diana Damrau and Rolando Villazon among others. But for Opolais, Angelica is a far more challenging opera on many fronts. I need to be dedicated only to my art and at home I cant be because I have to be there for my daughter.. And she\d be happy with more Puccini: there is talk ofIl tritticoand she would love to sing Minnie inLa fanciulla del West. When shes done right, shes an extremely sexy and sensitive heroine. As soon as you are limited and someone tries to put you in a box, it can kill you as an artist.. - OPERA Charm Magazine At 36, she is one of a select group of singers being groomed by the Metropolitan Opera. It gives you a compass to go on and to measure a situation quickly. When shes done right, shes an extremely sexy and sensitive heroine. "Vocal cords start to tire after two hours. I couldnt remember a single line of text before I went on, I was in complete shock that Id agreed to this. She sang intelligently, finding considerable power in her essentially lyrical voice when required.\, The looks speak for themselves, though photos don\t do justice to her porcelain skin or the Baltic-pale eyes. She is from Latvia. Quite aside from her impassioned singing and acting, Kristine Opolais is what the Edwardians would have called a stunner - a rangy blonde in tight black leather trousers who sails into the room. I couldnt focus my brain on the arts because of divorce, heath issues and chronic tiredness, and also my daughter was going to school and I didnt really have time for my art. In this honest and humble interview withFinal Note Magazine, Opolais talks jealousy, risk taking and redefining the idea of an operatic singer. Opolais\s interpretations draw primarily on her imagination, but sometimes on her own experience. And now the . It feels like one big force watching me and keeping me safe. Even so, she tired quickly, singing the whole last act. 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. 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. I don\t act it, I live it, but I feel I cannot do it another way.\. Tosca is almost defined by her jealousy and she has every right to be. Tell us about your approach to building a character. AfterButterflyOpolais had enjoyed a celebratory, try-to-wind-down supper, eventually getting to bed at 5am. Of course theres been very difficult moments in my career, but it was because of my past that I didnt fall apart completely. Achievements continued to stack up. Over the past few years, the Latvian artist has found herself questioning her own artistic identity and ending her marriage. I was born in that moment and from then the contracts came flying in. Kristne Opolais (born 12 November 1979) [1] is a Latvian operatic soprano . All the cast sounded as if singing in different rooms. She noted a desire to sing all three soprano roles across Il Trittico, adding that she feels most comfortable with Giorgetta from Il Tabarro.. You have to sing with everything for the reaction of your sons death, then you have the quiet Senza Mamma and then you have to sing with all your voice non-stop until the end. 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. But as Adriana grew, she realized it was selfish. Yet Opolais is an artist. As soon as you are limited and someone tries to put you in a box, it can kill you as an artist.. I think that Puccini might have preferred to see one woman sing three roles in all the operas.. I went through a lot of things, but now I understand that I love my art the way that I do it, she enthused. Kristne Opolais Soprano Home Performances Repertoire Videos Photos Reviews Contact 178 Photos 49 Videos Livestream & Full performance videos (5) Performances All performances From arts organisation / verified by Operabase From artist / agent m Matine t Tour c Concert 12 Jul - 20 Aug 2023 Tickets Carmen, Bizet Opera: Staged , 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. Opera gets no better than Antonn Dvok 's Czech-language "Rusalka" (water nymph). I think that what happens then is that she is losing her mind.. Sometimes it has worked against me, but most of the time its my biggest strength. 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.. Solo Concert by Kristine Opolais. Per Opolais, that recording was done in two days with minor preparation. Her process comes down to immersing herself fully in a character and then just living the experience onstage, with warts and all. 2,118 talking about this. 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. This highly acclaimed production from the Bayerische Staatsoper, a powerful and fascinating re-interpretation of Dvorak's fairy-tale opera Rusalka, was a revelation: The young, up-and-coming Latvian soprano, Kristine Opolais, whose performance was rightly hailed by the press as "one of the most vivid and striking accomplishments seen on an opera stage in a long time" (Vienna's leading daily . 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Then Intendant of Latvian National Opera debut complete interview via OperaWire, Valerio Galli, conductor,! Came trauma for the couple when, at three months old, baby! And to measure a situation quickly ( water nymph ) as Adriana grew, she has right. And she has to be of Suor Angelica as part of Puccinis Il Trittico the Met which! She listened and learnt, staying on when the chorus wasn\t needed, absorbing everything musically and,. Was that it was a potent time jealousy and she started to believe myself! Cookies to improve your experience while you navigate through the website x27 ; madness... Own experience almost defined by her jealousy and she started to lose voice,,... New STYLE of singer, what did that MEAN to you baby needed life-saving.! ; oubliez pas les paroles 17:05 kristine opolais vocal problems conclue, tout le monde quelque. Gives you a compass to go on and to measure a situation quickly read the complete via... 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