{"id":57038,"date":"2018-11-17T09:00:16","date_gmt":"2018-11-17T14:00:16","guid":{"rendered":"https:\/\/www.ludwig-van.com\/toronto\/?p=57038"},"modified":"2018-11-18T09:53:23","modified_gmt":"2018-11-18T14:53:23","slug":"interview-sondra-radvanovsky-is-coming-home","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2018\/11\/17\/interview-sondra-radvanovsky-is-coming-home\/","title":{"rendered":"INTERVIEW | Sondra Radvanovsky Is Coming Home"},"content":{"rendered":"
\"Sondra
In a candid interview, the reigning queen of Bel Canto Sondra Radvanovsky shares her thoughts on her art and her life (Photo: Andrew Eccles).<\/figcaption><\/figure>\n

She\u2019s one of the most celebrated sopranos of our time, possessor of a fabulous voice with stunning technique, in demand in all the great opera houses of the world \u2014 Paris, London, Vienna, the Met, you name it. She\u2019s certainly at the top of her game. Yet, Sondra Radvanovsky is a self-professed homebody.<\/p>\n

\u201cYes, I\u2019m a real homebody!\u201d she said when I interviewed her way back in March 2010, at the time of her COC debut in the title role of A<\/em>\u00ef<\/em>da<\/em>. \u201cI just love<\/em> sitting at home and having friends over \u2013 it\u2019s such a simple joy. We have a new house we bought in September, and I haven\u2019t seen the flowers grow yet. We have ten acres, trees, a pond. I love going into the garden. \u00a0We live right by the forks of the Credit. We can walk down there right by the river. Canada is breathtaking \u2014 this area is spectacular, and the people are so nice.\u201d<\/p>\n

In anticipation of her upcoming recital at Koerner Hall<\/a><\/span>, I recently interviewed her at her home on the outskirts of Caledon, about an hour by car west of the GTA. To get there, you drive up a narrow, secluded path, at the end of which sits her home, nestled in the woods. Looking at the idyllic setting, I understand what she meant by wanting to be home. It\u2019s the ideal spot \u2014 nice and quiet, away from the hustle and bustle of Toronto \u2014 for a busy international artist to recharge her batteries in between gigs.<\/p>\n

She had just arrived home from San Francisco Opera where she wowed audiences as Elisabetta in Roberto Devereux<\/em>, one of her signature roles. Looking relaxed and mellow, we settled down in her living room for a conversation. Speaking with disarming candor, she talked about her upcoming recital, her voice, her career and her life. At the end of my visit, I was given a glimpse of her music room, with framed photos on top of her piano, and her many honours, including the most recent, a framed document naming her Honorary Fellow of the Royal Conservatory of Music. There were even two bottles of red wine named after her \u2013 how cool is that!<\/p>\n

\"\"<\/p>\n

Originally from Berwyn, Illinois, a suburb of Chicago, Radvanovsky is married to Canadian Duncan Lear and has made Canada her home for a dozen years. Now a dual citizen, she feels comfortable and at home in True North Country. Not only is Canada her physical home, it\u2019s also her artistic home \u2014 of course, we share her with the rest of the opera world!\u00a0 You see, two years ago at the opening night reception of the COC Norma<\/em>, General Director Alexander Neef made a point of saying that he wants Sondra to consider the Canadian Opera Company her home theatre.<\/p>\n

Since then, I\u2019ve heard rumours that the COC has grand plans for the soprano in future seasons. To be sure, it was one of the questions I had for her. Opera companies hate to be scooped, so it cannot be made public at this point, except that indeed she will sing with the Company in the next few seasons. Even though she\u2019s not on the COC stage this season, we can look forward to her Koerner Hall recital.<\/p>\n

\"Sondra
Sondra Radvanovsky, Met Tosca from September 2018. (Photo: Marty Sohl)<\/figcaption><\/figure>\n

First thing first \u2014 we in Toronto are very excited about your upcoming recital, \u201cFrom Bel Canto to Verismo.\u201d I couldn\u2019t find any information about your program. Can you tell us what you are singing?<\/em><\/strong><\/p>\n

That\u2019s because I haven\u2019t given the program to them yet. It\u2019s songs and arias from early Bel Canto<\/em> to Verismo,<\/em>\u00a0and the last thing on the program is completely new!<\/p>\n

Bel Canto and Verismo are two very different musical styles; how do you meld them together?<\/em><\/strong><\/p>\n

The reason for the recital is that I want to show that one was born of the other \u2014\u00a0Bel Canto<\/em> really is baby Verismo<\/em>, especially with roles like Elisabetta in Roberto Devereux<\/em>. Because she\u2019s so dramatic\u2026<\/p>\n

Oh yes, I remember your COC Elisabetta well. Especially the last act of the ageing Queen, you were so believable. \u00a0Some bel canto singers just stand and sing, but that\u2019s not you.<\/em><\/strong><\/p>\n

No, that\u2019s not me. It\u2019s also because of my theatre background. I was a theatre major at USC and UCLA. I sang the Three Queens, and now I\u2019ve just done Maddalena in Andrea Chenier<\/em>. I thought why not show vocally the progression from early Italian Baroque \u2014 I sang Vivaldi\u2019s \u201cSposa son disprezzata\u201d \u2014 to Bellini, then to Verdi, and to Puccini. You can hear from the music the one thread that runs through it, and that\u2019s the beautiful vocal line. That\u2019s what I want to show in this recital. People ask me how I can sing both Andrea Chenier<\/em> and Anna Bolena<\/em>, or Norma<\/em>\u2026.<\/p>\n

You don\u2019t sing them very close together, do you?<\/em><\/strong><\/p>\n

Well, I did! I came right from Chenier <\/em>in Barcelona to Anna Bolena<\/em> here at the COC.<\/p>\n

\"Sondra
Sondra Radvanovsky, Met Tosca from September 2018. (Photo: Marty Sohl)<\/figcaption><\/figure>\n

Do you need to make some vocal adjustments to go from one to the other?<\/em><\/strong><\/p>\n

Yes, now looking back at it, I can say it was slightly foolish to go right from Chenier<\/em>, a non-High C opera, to Bolena<\/em> right away. I\u2019m not going to say I modify my technique, but I have to \u201cre-registrate\u201d the voice because Maddalena is such a low role. You have to let it relax into a different position, as opposed to Bel Canto<\/em> where you have to keep it in a very narrow, tight position; you have to be very focused; it\u2019s like walking on a tight wire.<\/p>\n

In Bolena you have lots of coloratura, but in Maddalena you don\u2019t have any.<\/em><\/strong><\/p>\n

Yes, but it sure is a joy to sing \u2014 I really love it!<\/p>\n

Even though the focus, and the pressure, is on the tenor…<\/em><\/strong><\/p>\n

Yes, but it\u2019s easy for the soprano to walk away with the show (big smile)!<\/p>\n

Maddalena has only one aria, Chenier has four!<\/em><\/strong><\/p>\n

I know! But mine is the better aria [laughs<\/em>].\u00a0 I want to sing it for a long time.<\/p>\n

\"Sondra
Sondra Radvanovsky, Met Tosca from September 2018. (Photo: Marty Sohl)<\/figcaption><\/figure>\n

You\u2019ve been singing for a long time \u2014 is it like twenty-five years?<\/em><\/strong><\/p>\n

I won the Met Auditions in 1995 \u2014 I had just turned 25. I will be 50 next April [mock wailing<\/em>]! I made my professional debut singing Mimi when I was 21, in a small professional opera company. That means it\u2019s 2 years short of 30 years.<\/p>\n

I have to say you\u2019re sounding better than ever.\u00a0 And I want to thank you for talking to me when I was writing my article on vocal issues a few years ago. You and one other singer were the only two willing to talk\u2026<\/em><\/strong><\/p>\n

Well, I\u2019m in a position that I\u2019ve proven myself. I don\u2019t have to say: \u2018I had vocal surgery and I\u2019m not singing as well now.\u2019 I think I\u2019m singing better because<\/em> of it. I hope with each passing year I\u2019m singing better.\u00a0 But I keep working on my voice and my technique, a lot of singers don\u2019t.<\/p>\n

You work with Anthony Manoli?<\/em><\/strong><\/p>\n

Yes, he\u2019s wonderful; he understands my voice. There are some conductors I work with, like Riccardo Frizza. He\u2019s one of those old-fashioned conductors, like those in the olden days when they coached the singers, not so much the voice teachers. The conductors were the ones who helped with the style. That\u2019s Riccardo in a nutshell \u2013 he really understands the Bel Canto<\/em> style.\u00a0 He has taught me so much about the vocal line, the vocal style of singing this repertoire. I have done Norma<\/em> and Roberto Devereux<\/em> with him.<\/p>\n

I don\u2019t mean to be a devil\u2019s advocate, but there are people who say verismo can be vulgar, at least acting-wise, or even vocally, as some people use a lot of chest voice. What\u2019s your response to that?<\/em><\/strong><\/p>\n

I think chest used judiciously and wisely is great \u2013 it makes an effect. Like in Devereux<\/em>, this time I used a lot more chest in those moments. There\u2019s a reason why it\u2019s written like that. I\u2019ll say it\u2019s the same with high piani<\/em>, if one overuses it, it becomes an affectation. If you use it as an effect for vocal and dramatic reasons, it\u2019s thrilling and exciting. That\u2019s why \u201cA te la mala Pasqua,\u201d [in Cavalleria rusticana<\/em>] or \u201cAvanti a lui tremava tutta Roma\u201d [in Tosca<\/em>], you have<\/em> to use chest voice.\u00a0 You\u2019re just not going to sing it in a nice lovely ringing head voice! That\u2019s how it\u2019s written and that\u2019s why it\u2019s exciting. If you want beautiful singing, okay go to Bel Canto<\/em>. It\u2019s the style of the music, and I don\u2019t find it vulgar; when done with a good actor and actress, it\u2019s thrilling. Working with Jonas Kaufmann on Chenier<\/em> was really thrilling because he\u2019s a singing actor. Doing Tosca<\/em> with Bryn Terfel is exciting because he\u2019s an amazing actor, impetuous, off-the-cuff, every day it\u2019s different.<\/p>\n

\"Sondra
Sondra Radvanovsky, Met Tosca from September 2018. (Photo: Marty Sohl)<\/figcaption><\/figure>\n

Speaking of Verismo \u2014 will you ever sing Santuzza? \u00a0Or Gioconda? \u00a0Or have you done it?<\/em><\/strong><\/p>\n

No, I haven\u2019t, but I\u2019d love to. I think it will probably come when I give up the Three Queens. In my head, I have a plan of how things will go.<\/p>\n

Bel Canto fans would hate to see you give up the Three Queens. Do you plan to sing them for at least another five years?<\/em><\/strong><\/p>\n

I\u2019d love to. I am doing a new compressed version of it, the final scenes of all three in a concert \u2014 in Chicago, Berlin, Paris, Monte Carlo, Barcelona, and more keep being added as people find out about it.<\/p>\n

Time for me to make travel plans! I remember two years ago at the reception after your COC Norma, Alexander Neef made a point of saying that he hopes you\u2019ll consider the COC your home theatre\u2026<\/em><\/strong><\/p>\n

It is! We\u2019ll be here every year, in four different operas. I\u2019m not singing at the COC this season, so this recital is good, as I want to have something here this year.\u00a0 And maybe we\u2019ll work on doing something out in Vancouver too.<\/p>\n

Well, this is incredibly exciting news. We hope to hear you for many more years to come, and toi toi toi for the Koerner Recital. <\/em><\/strong><\/p>\n

++++<\/p>\n

From Bel Canto to Verismo<\/em><\/strong><\/p>\n

Sondra Radvanovsky, soprano; Anthony Manoli, piano. November 24, 8 p.m., Koerner Hall, 273 Bloor St. W.\u00a0 $55-$125. See here<\/span><\/a> for all the details.<\/p>\n","protected":false},"excerpt":{"rendered":"

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