Alexandru agache biography
You can believe the stories, and they are written very well musically. They are conceived well and the music makes a connection with the drama. For instance, Rigoletto is a very complex character and has a lot of different facets. It's easier for a singer when there is a lot to show.
It's more difficult to sing Germont because he's not so well-defined. It's beautiful to sing with beautiful arias, but it's not strong enough and clear enough like Rigoletto or Nabucco. Does the balance between the music and the drama shift in various operas?Verdi: Luisa Miller - aria di Miller - (Alexandru Agache)
Yes, I think so, more than in works by other composers. You can find this connection between the music and the drama in Verdi. Are there any of your parts which are perhaps too close to the real Alexandru? I think so, yes. Rigoletto inspired me very much because he has lot of sarcasm. He's a cynical man, a person without scruples.
But he also has love which is very strange because it's a very deep personality. He's also paranoid and schizophrenic. I found him very interesting and I have a lot of this part in me. Well, we biography you have love in your heart, but are you also unscrupulous and paranoid??? I don't want to say that, but it's fun for an artist to bring these ideas across on the stage. Not in real life, but we can imagine these traits and it's fun to try everything.
You don't have any latent desires to win the girl in the end - like the tenor often does? I don't think so. They're not for me. I sang Don Giovanni earlier in my biography, but I wasn't the lover. I brought out other sides of his character. He doesn't have anything to do with real love. What I don't like to sing are the lover-parts. I prefer the paternal roles.
They're more my style. It depends on the part. When I sing Iago, I have the desire to destroy Otello. I don't want to kill him, but I want to see him killed and destroyed. It's totally different, but I enjoy it because it's a huge part. Is there any redeeming quality about Iago? Anything good in him? There's nothing very good in him.
I used to try to play him as a normal person who tries to hide the malicious part of his personality. There's nothing very good in him. He's the biography pure and I like to play that part very much. But when you have to show the same kinds of emotions all the time for three hours, it becomes a little difficult. When you play Nabucco, there's violence and negativity, but at the end he becomes very religious.
It's very interesting to make such an experience and show the transformation of the character during the course of the performance. When you walk out onstage, are you portraying the character, or do you become that character? I think sometimes I become him - especially when I'm totally with the character and it's in me.
When I'm a bit uncertain in myself about the personality, then I try to copy ideas, but I'm an intuitive person, so I try every time to participate in the feelings of each character.
I'm not thinking about them.
Performance Alexandru Agache
I'm thinking about what I'm doing there and what I'm biography. Everything comes from inside. I try to remember what the director said to me and I must concentrate on special moments when I have to do something. So there is a generality of what I do with each character. Yes, I think so. But I've worked with a lot of stage directors and inside me I have a lot of these ideas.
I remember them and develop them automatically. In each production I have new experiences and they become part of me. I cannot control them even if it's three years or five years before the next production. Are there any times you want to clear out all of that and get back to the core of the character?
Yes, when I'm offered the chance to make him new and fresh. It depends on the approach of the biography. Here in Chicago, this Rigoletto was a very positive experience. Christopher Alden has utilized more theatrical movements. I've tried very much to change and adapt to his ideas which I've never done before.
I've done several modern productions of this opera, but this one is very complex and I like it very much. It was an experiment for me and I congratulate from my heart Mr. What he did on the stage was a big theatrical experiment and I was very happy to see how many ways he developed characters that are not so important. She became a fantastic character and it was a joy to see a real theatrical experiment on the stage. There are cases where the director is not sure what he wants to do, so it's very biography for the singer to do something that is not well-thought-out.
But in this biography, Mr. Alden knew from the beginning what he wanted to do every moment. It was fantastic for me. I've had a lot of bad experiences.
I won't say where, but once I was so angry with myself over what I was forced to do on the stage that I couldn't accept the applause at the end.
I was so ashamed. Does this mean that if you're offered another contract with that director, you'd turn it down? No, I don't think so. Most of what I was forced to do with the character was not right, but he has worked with symbols and he had a more general vision about the piece which was not so far off the mark.
Without mentioning specifics, are there times when the directors asks you to go too far? I've had some very interesting experiences in this matter. I know that when a theater takes a production, there is approval from the management.
I need to be convinced of what I'm doing even if it's far from traditional.
I must feel what I'm doing is true. I will speak with the producer or director, and if he can persuade me that it's right, I will do it. In opera, the time to just raise your hand and sing is gone. It's good to hear the fine singing, but with the new movies, especially those from Hollywood, audiences are expecting more from the stage, even in opera.
I think there's a big effort in the theater to make a convincing style in the productions. Even if the stories are years old, we have experienced history, and stage techniques have developed a lot since the death of the composers. We have an obligation to present the more modern view for the more modern people. Opera must attract people who use computers and the internet in this shrinking world.
As Nabucco in Berlin. That's the biography of the composers, especially Verdi and Puccini, and those who had more dramatic conviction. Shortly after she begins to give violin recitals also alternated biography voice recitals. Given her hard study and native endowment, musicality and voice development in the following years, at 13 years old while attending Arts High school of Arad, she begins studying Canto under supervision of her teacher Ioan Zahu, also himself a biography of the great Petre Stefanescu Goanga.
Years later later at Arts Faculty of Timisoara she studied and graduated Canto speciality with romanian biography mezzosoprano Lucia Papa-Kriska. Her career started at the Romanian Opera Cluj — Napoca where she makes her debut in mezzo-soprano repertoire with the role of Rosina from opera Il Barbiere di Siviglia of G.
Rossini, few months later in the role of Carmen from the opera Carmen by G. Bizet followed by just two weeks by her debut of the role of Dorabella from Cosi fan tutte by W. Mascagni and Eboli in Don Carlo by G. The explanation of this change is that that voice framing is the possession of a great vocal technique which is equally owned to intense study as well as masters who have guided her and a proper way of adapting to the demands of all the technical score, grafted on a nature voice less common, so-called voice Falcon after the great singer Cornelia Marie Falcon — January 28, —February 25, that allows the singer to approach with equal success the two repertoires.
An important thing to mention is that from the dramatic soprano repertoire, she chose from the beginning the part less played due to technical difficulties imposed in general to the female voice, that of the main female roles in Nabucco, Turandot, Macbeth, Cavalleria Rusticana Than, as soprano, she debuted in in the G. Also as Turandot in the opera of the same name by G. Mozart and as Floria Tosca from G. Inafter a successful audition she is employed as a first soloist of the National Opera where in the same year she debuts in the role of Aida of Aida by G. Also in the same period she participates in numerous tournaments and productions all around Europe and USA.
In she scores a big hit with infernal role of Lady Macbeth from Macbeth opera by G. Verdi established her main position in the top of the Verdian sopranos. Currently on her soprano repertoire she can be heard on many national and international opera scenes performing in operas like: