– Angelina, good afternoon.
– Tell me, have you dreamed of performing in opera since you were a child? The opera of those years, which you absorbed then, is very different from the opera of today. Even though it’s only been a short time, do you feel the differences? And where is the progress of opera going?
Good afternoon. As a child, I had absolutely no idea that I would become an artist. Although my grandmother, who essentially brought me up, was a great fan of opera, and I absorbed opera from childhood. My grandmother gave me to the children’s choir at the Alisher Navoi State Academic Grand Theatre in Tashkent. So I was already initiated into the world of theater and opera from a young age. Of course, I was brought up on classical opera.
Nowadays opera is becoming more and more contemporary, but I like it. I believe that there is a room for both, if it is done tastefully.
Unfortunately, I often hear the phrase ‘opera business’ among my colleagues, or in the fashion world. I don’t know if this is the right name from an economic point of view, but I still dream that opera should be associated only with art.
– The debut in Mariinsky theater was in Falstaff. Certainly very significant, and what is the most memorable from the debut performance?
Yes, to be honest, my debut came as a surprise to me. Of course, I had been preparing this part, but I wasn’t among the first choices. I was given a huge opportunity. Maestro Valery Abisalovich Gergiev believed in me, it was very exciting. It was also very pleasant to thank Valery Abisalovich after the performance. I said that exactly one year ago I listened to Shostakovich’s 14th Symphony and thought how great it would be to someday sing with such a great conductor… Valery Abisalovich laughed, because for him these compliments were nothing surprising, but for me it was a huge event.
– Please describe the average opera-goer in St Petersburg? In your opinion, does the audience now understand opera? Or only a small part of it?
About the audience, it’s hard for me to say. I don’t read comments, neither positive nor negative. I am a very emotional person and I perceive everything very strongly. That’s why I made this decision.
– Mariinsky Theatre has three stages, which one do you think «sounds best»?
All three scenes with unique amazing acoustics and an incredibly aesthetically beautiful view. I absolutely love the historic stage: it’s where I feel most comfortable. The other stages are also great, but my favourite is the historic stage.
– How important is a conductor to an artist in opera?
Very important. Conductor for an opera artist, if he is a good conductor, it’s a 99% success. No matter how well you sing, if there is a conductor behind the console who does not know how to balance orchestra and performer, it seems that there is no point in going on stage. It happens that conductors in different theaters of the world simply “drown out” artist with the sound of an orchestra.
– Do you have a dream stage? The theater you most want to perform in?
It’s important for me to just get on stage and feel the energy. It doesn’t matter where it happens, so if I can give people pleasure, I don’t care where. Of course, I am very happy that I have such an opportunity in my life to perform within the walls of the Mariinsky Theatre, to absorb history, to learn from my senior colleagues, it is a great happiness and luck. I am very lucky, thank God, and I can say that in this theater I want to sing throughout my career.
– Will there be operas written in the 21st century that will be performed in the 22nd century? What do you think?
Yes, of course they will be. The only question is whether these operas will be as brilliant as they were written before.
Thank you for the interesting questions.
– Angelina, thank you very much.