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| Ádám Fischer |
Ádám Fischer returned to the Opéra de Paris after a 26-year absence.
Fischer said the last time he worked in the French capital, most French were only willing to speak French, and he felt uncomfortable because he could not speak the language well. Thus he did not wish to return for a long time.
?Since them, the situation has changed a lot, and people have become far more normal in this respect, but it could also be that I was very young at the time and much more fitful. Now I am much more forgiving of people,? he said.
Fischer said he led the rehearsals for La clemenza di Tito in Italian, because he believes it is the international language of music.
Fischer had much praise for the opera?s orchestra: They play ?finely? and ?elegantly?, and have ?a very gentle pianissimo sound?. The acoustics of the Palais Garnier also have something to do with it; every little sound can be heard, so the orchestra has become sensitive over time to never play too loudly, over the singers, he said.
Asked whether he had become more mobile since he is no longer tied down to a permanent position at the Hungarian State Opera, Fischer said he travelled much even while he was at the opera in Budapest, and that was the problem. He saw the position of chief musical director as just one part of his work, as it such a position is seen in Vienna, Paris or Berlin, but the expectations were different in Budapest.
La clemenza di Tito is being brought to the stage in a 1997 production by the German director Willy Decker.
Source: Hungarian News Agency (MTI)
