German Baritone Michael Kupfer-Radecky, greatest recognized for his roles in Wagner and Strauss operas, made his Canadian debut two years in the past as an intensely formidable Jochanaan in COC’s Salome. He’s again in Toronto, which he calls his new favorite metropolis, to sing the title function within the upcoming COC manufacturing of Alban Berg’s Wozzeck. Coincidentally, this yr marks 100 years for the reason that opera’s premiere. This may also be Michael’s function debut.
It might come as a shock that this worldwide star didn’t comply with a conventional path to turning into an opera singer. He didn’t develop up in a musical household, didn’t play a musical instrument as a toddler, and was not desirous about singing.
He did, nonetheless, have an early curiosity in performing. His first publicity to opera was by a recording of The Magic Flute he acquired as a present for his eleventh birthday, which fascinated him and planted the seeds for his love of opera. It was not till age 17 that his lecturers found he had a voice, and urged him to take singing classes. After profitable first prize at a voice competitors after solely six months in music faculty, it dawned on him {that a} profession as an opera singer can be an ideal marriage of his ardour in performing and expertise in singing.
And the remaining, as they are saying, is historical past.
The Opera
Alban Berg’s Wozzeck is taken into account one of the vital important works of Twentieth-century musical modernism. The opera tells the tragic story of Wozzeck, a soldier plagued by his superiors, betrayed by his lover, and finally pushed to insanity and violence.
Its themes of social exploitation, despair, and human struggling are powerfully conveyed by Berg’s modern use of atonality, dissonance, and expressionist methods.
We spoke to Michael about his upcoming efficiency.
Michael Kupfer-Radecky: The Interview
LvT: Inform us concerning the character of Wozzeck and the operatic challenges of the function.
MKR: It’s a difficult function, each vocally and musically, as a result of the composer desires totally different kinds from you. There may be pure singing, and talking on a singing tone, which is neither singing nor talking. Then there are pure talking elements the place it’s important to shout with a traditional voice over the orchestra, which is loud in these locations.
The character of Wozzeck is an actual individual, and it’s a true story of one of many first historic instances the place the legislation needed to resolve if he was of sound thoughts to be on trial for homicide. Berg had served in World Warfare I, and he wrote his private experiences and inside emotional turmoil into that function. These feelings are exhausting to be taught, really feel, memorize and transport, which makes Wozzeck one of the vital tough roles I’ve completed.
Lots of people assume Wozzeck is a darkish character, however I don’t assume that. Everybody round him — the Physician, Captain and Drum Main — are loopy, and his spouse Marie betrayed him. Wozzeck, along with his easy thoughts, is making an attempt to get by and discover his method. However he can’t handle the whole lot that folks need from him, and this makes him not a foul character, however a tragic one. For me, it’s so attention-grabbing to look deep inside myself to seek out one thing to place into this difficult character that’s sincere and true for the viewers.
LvT: How do you put together for this function?
MKR: I began studying this function final July, so it’s taken me greater than 9 months. It’s by a whole lot of repetition to get all musical strains and the tough and particular rhythms to change into pure within the physique, like muscle and vocal wire reminiscence, in order that I don’t have to consider it. And dealing with a pianist is necessary if you put together, particularly for a task like Wozzeck.
LvT: Inform us about this COC manufacturing
MKR: The set has a whole lot of projections, movies and work. It’s a like huge, dwelling art work, which the characters change into a part of. I believe for the viewers, they may really feel like they’re in a museum with a stay portray unfolding in entrance of their eyes. I’m trying ahead to seeing their reactions.
It’s my second time working with the COC, and I really feel at residence right here. It’s a good ambiance to work. Everyone seems to be so form, useful and supportive, which isn’t at all times the case in Europe. The spirit right here is particular. For me, it’s like working along with household and associates!
LvT: What are your favorite roles? Future dream roles?
MKR: My favorite function is Hans Sachs from Wagner’s Die Meistersinger von Nürnberg. It was certainly one of my very first dream roles, and nonetheless one I actually like to carry out. It’s so filling for the guts and soul.
For the long run, there are two roles in operas by Richard Strauss I’d love to do: Barak in Die Frau ohne Schatten and Mandryka in Arabella. And a enjoyable truth: I’ve by no means completed Papageno in The Magic Flute! Nearly each baritone has completed it in his profession, however not me, despite the fact that it’s the opera the place it began for me!
- COC’s Wozzeck will play April 25 – Could 16 on the 4 Seasons Centre in Toronto. Discover extra particulars ant tickets [HERE].
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Denise Lai is a Physiotherapist and Faculty Professor. She is an alumnus of the Toronto Mendelssohn Choir and a rusty piano participant.
