Opera Plus - interview 1.2.2010
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Opera+Ballet+Classical Music (Czech version) Brněnská a teď i pražská sopranistka Csilla Borosspondělí, 1. února 2010, autor: Opera Plus, 0:01www.operaplus.cz
1.2.2010 , autor: Opera Plus, 0:00
Before you start singing you have played piano very well.
It must costed you a lot of hard work both. Why did you from the piano "fled" to sing at least?
Well, there was no question any more after I finally decided to chose singing. But it was AFTER HAving the piano teacher diploma in my pocket. Actually I always sand in my childhood but at the same time the piano was my best friend. I played all day long. Improvised, played music from Blatt 6 hours. So at the age of 14 I went to Conservatory for studying piano. Meanwhile I sang arias such as Tosca and Quenn of the Night. So one day a singing teacher asked me if I would like to study also singing. Of course I said yes. But with the time I started singing more and more; more than playing the piano. I loved it too much. I thought if it gives
me so much joy and is so easy, it can be only bad. So I chose piano, but decided if I already got the diploma and still want to sing, I have enough time to start it again. That happened.
It helps you, that you are brillant pianist, when you study new roles?
It helps a lot, I learn very fast.
You have graduated from several top artists master classes (especially Mrs. Cotrubas or Mr. Bruson) . What absolutorium brough you for your next professional carrer?
Those kinds of masterclasses which You mentioned are good for comparing you to other singers in Europe or out of Europe. And also good for facing the lack of your knowledge. After each masterclass I knew what I have to work on my technique or on my artistic behaviour.
Simultaneously with the preparation of the Prague opeening night of Mozart's Cosi fan tutte you are in preparation opening night of Verdi's Aida in Brno. How do you manage both?
It is very hard, but thank God I have much energy, But honestly said I will try never do the same again.
Not only Fiordiligi and Aida are very different charactes. You sing Lady Macbeth as well, while you are preparing Lucia di Lamermoor. And many other different types of characters could be found in your repertoire. Some of your colleagues claims that it is necessary to keep specialization for one type of roles. What do you think about it?
Well I really don't understand those collegues, because some 40 years ago the singers sang these roles together without any problems. Why shloudn't we do the same if we have the organical possibilities,I mean voice and good technique for that?
I think we, singers are also actors, so if this is true we have to be able to do more characters, personalities too. And especially that's why I am so happy doing this profession.
Your favorite opera character currently, please?
Tosca, Madama Butterfly, Violetta Mimi,Aida .......etc.
You are acting very recently on Bohemian and Moravian stages..Certainly more often than at home. How did this happen?
It is a very good question, and very painful but sorry I really don't know the answere. I am very sad because of I am not invited to Budapest,only for 1 or 2 performances. I don't know the reason.
What about your plans for next season in Czech Republic?
It is not depending only on me. I feel happy here, because I can work, and and I can play those parts which I love the most. What else can I ask?
What is the opera standard in Hungary now?
I think more and more the German style if I can say that. For me it means that the regisseur is the Origo and the piece is being formed by his ideas which can be good but sometimes there is no connection between the idea and the piece, which is a pity.