{"id":113411,"date":"2025-04-10T10:02:03","date_gmt":"2025-04-10T14:02:03","guid":{"rendered":"https:\/\/www.ludwig-van.com\/toronto\/?p=113411"},"modified":"2025-04-10T10:02:03","modified_gmt":"2025-04-10T14:02:03","slug":"interview-baritone-michael-kupfer-radecky-talks-upcoming-role-debut-canadian-opera-companys-wozzeck","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2025\/04\/10\/interview-baritone-michael-kupfer-radecky-talks-upcoming-role-debut-canadian-opera-companys-wozzeck\/","title":{"rendered":"INTERVIEW | Baritone Michael Kupfer-Radecky Talks About His Upcoming Role Debut In Canadian Opera Company\u2019s Wozzeck"},"content":{"rendered":"
\"Baritone
Baritone Michael Kupfer-Radecky (Photo: Simon Pauly)<\/figcaption><\/figure>\n

German Baritone Michael Kupfer-Radecky, best known for his roles in Wagner and Strauss operas, made his Canadian debut two years ago as an intensely formidable Jochanaan in COC\u2019s Salome. He is back in Toronto, which he calls his new favourite city, to sing the title role in the upcoming COC production of Alban Berg\u2019s Wozzeck. Coincidentally, this year marks 100 years since the opera\u2019s premiere. This will also be Michael\u2019s role debut.<\/p>\n

It may come as a surprise that this international star did not follow a traditional path to becoming an opera singer. He did not grow up in a musical family, did not play a musical instrument as a child, and was not interested in singing.<\/p>\n

He did, however, have an early interest in acting. His first exposure to opera was through a recording of The Magic Flute he received as a gift for his 11th birthday, which fascinated him and planted the seeds for his love of opera. It was not until age 17 that his teachers discovered he had a voice, and urged him to take singing lessons. After winning first prize at a voice competition after only six months in music school, it dawned on him that a career as an opera singer would be a perfect marriage of his passion in acting and talent in singing.<\/p>\n

And the rest, as they say, is history.<\/p>\n

\"A
A scene from Wozzeck, Salzburg Festival, 2017, with Conductor Vladimir Jurowski, director William Kentridge, original set designer Sabine Theunissen, original costume designer Greta Goiris, and original lighting designer Urs Schoenbaum (Photo:Ruth Walz)<\/figcaption><\/figure>\n

The Opera<\/h2>\n

Alban Berg\u2019s Wozzeck is considered one of the most significant works of 20th-century musical modernism. The opera tells the tragic story of Wozzeck, a soldier tormented by his superiors, betrayed by his lover, and ultimately driven to madness and violence.<\/p>\n

Its themes of social exploitation, despair, and human suffering are powerfully conveyed through Berg’s innovative use of atonality, dissonance, and expressionist techniques.<\/p>\n

We spoke to Michael about his upcoming performance.<\/p>\n

\"Ambur
Ambur Braid as Salome (top left), Michael Kupfer-Radecky as Jochanaan (below), and Fr\u00e9d\u00e9ric Antounas Narraboth (top right) in the Canadian Opera Company\u2019s production of Salome, 2023 (Photo: Michael Cooper)<\/figcaption><\/figure>\n

Michael Kupfer-Radecky: The Interview<\/h2>\n

LvT:<\/strong> Tell us about the character of Wozzeck and the operatic challenges of the role.<\/p>\n

MKR:<\/strong> It is a challenging role, both vocally and musically, because the composer wants different styles from you. There is pure singing, and speaking on a singing tone, which is neither singing nor speaking. Then there are pure speaking parts where you have to shout with a normal voice over the orchestra, which is loud in those places.<\/p>\n

The character of Wozzeck is a real person, and it is a true story of one of the first historical cases where the law had to decide if he was of sound mind to be on trial for murder. Berg had served in World War I, and he wrote his personal experiences and inner emotional turmoil into that role. These emotions are hard to learn, feel, memorize and transport, which makes Wozzeck one of the most difficult roles I have done.<\/p>\n

A lot of people think Wozzeck is a dark character, but I don\u2019t think that. Everyone around him \u2014 the Doctor, Captain and Drum Major \u2014 are crazy, and his wife Marie betrayed him. Wozzeck, with his simple mind, is trying to get through and find his way. But he can\u2019t manage everything that people want from him, and this makes him not a bad character, but a sad one. For me, it\u2019s so interesting to look deep inside myself to find something to put into this complicated character that is honest and true for the audience.<\/p>\n

LvT:<\/strong> How do you prepare for this role?<\/p>\n

MKR:<\/strong> I started learning this role last July, so it\u2019s taken me more than nine months. It is through a lot of repetition to get all musical lines and the difficult and special rhythms to become natural in the body, like muscle and vocal cord memory, so that I don’t have to think about it. And working with a pianist is important when you prepare, especially for a role like Wozzeck.<\/p>\n

LvT:<\/strong> Tell us about this COC production<\/p>\n

MKR:<\/strong> The set has a lot of projections, videos and paintings. It is a like big, living artwork, which the characters become part of. I think for the audience, they will feel like they are in a museum with a live painting unfolding in front of their eyes. I\u2019m looking forward to seeing their reactions.<\/p>\n

It is my second time working with the COC, and I feel at home here. It is a nice atmosphere to work. Everyone is so kind, helpful and supportive, which is not always the case in Europe. The spirit here is special. For me, it\u2019s like working together with family and friends!<\/p>\n

LvT:<\/strong> What are your favourite roles? Future dream roles?<\/p>\n

MKR:<\/strong> My favourite role is Hans Sachs from Wagner\u2019s Die Meistersinger von N\u00fcrnberg. It was one of my very first dream roles, and still one I really love to perform. It is so filling for the heart and soul.<\/p>\n

For the future, there are two roles in operas by Richard Strauss I\u2019d like to do: Barak in Die Frau ohne Schatten and Mandryka in Arabella. And a fun fact: I have never done Papageno in The Magic Flute! Almost every baritone has done it in his career, but not me, even though it is the opera where it all started for me!<\/p>\n