You started out as a prosaic actor and came to opera via operetta. When did you first feel that you seriously had something to do in this genre?
The first time I felt convinced was after my first opera role in Szolnok in 1998. György Selmeczi invited me to play Hoffmann in The Tales of Hoffmann and the circumstances of the performance already made me realise that something extraordinary was in the making. Since Selmeczi handles people excellently - you can believe me, this performance would have been impossible to make without him - everybody, even the last extra, was giving their best. When I was standing on stage later, I inevitably felt that instead of being just a singer or a hamming actor, I was a phrase in a large orchestra. A resonator, a channel, who allows the music to have an effect. That was when I felt that I was on the right track.
And when you found out at the Mezzo opera competition that not just one but two directors insisted that you perform for them, did you realise that this would be a real test for you, having participated in hardly any competitions earlier?
Of course, but I was also afraid that it would end up being a disappointment. I hardly knew any of the candidates, I had only played with Péter Balczó before, but he ended in a different production. I had no idea what my chances would be, and actually, I was not that much bothered. What appeared much more important is that once I could show myself in two different roles, I should be able to play in different styles and execute all of this in a manner that I found best and most authentic. The music was a great help because whereas in The Last Day of a Condemned my role was written to have a spinto character, the role I played in Emmeline required more of a lyric mode, and in a certain aspect, nearly a musical-like approach.
Which one required more attention, which was the harder?
Actually both, but in different ways. For quite some time, I simply could not find the right tone for the character of Matthew Gurney, the main reason for which was that I had never sung in English in front of an audience. Eventually, I walked into a bookstore, got a book and started reading out loud - from the larynx, as Americans do - and so I suddenly found the necessary tone. In the case of the condemned, I had problems with pronunciation since I am no good in French. What's more, it is an advantage if you can sing from the nose, which I tend to do when I get tired anyway. But the production in Debrecen required a lot of energy since I had to stand in front of an audience for an hour and 45-50 minutes without stopping. I went up on stage at the beginning of the play and walked down before the break. But I still could not rest because I had to run to prepare for the next scene, to train my voice. Then at the beginning of the scene I went up on stage again and I also walked off at the end.
What do you think is the fruit of your double success? Can you see the resulting new opportunities?
I am planning to test myself at other locations but I am not impatient because so far I have always managed to achieve what I had planned. Indeed, it all took shape at an unexpected pace. If you want to continue singing for another ten years, or perhaps even at age 65, you have to reject being hurried day by day. Also, you may go abroad in hope of a better income but that means they will have to import some lesser talents from abroad and their excessive wages cause the system to collapse. There will be no money left to pay singers, dressmakers and other technical staff who work for a living. I believe that since we are born in this country, we should all feel obliged to act accordingly on the opera's 125th birthday, which it celebrates this year. This institution will operate with our involvement for the next 25-30 years, so its future depends on all of us. The most important lesson from the past four months, which is also this period's most practical result, is that I have learnt to prioritise my plans and identify the skills required to achieve them. The most sincere and heart-warming recognition I got was at my regular café in Sas Street, where I received a public ovation.
Was this a greater step forward professionally or more important as an individual achievement?
In every way, because my plans had never before become so clearly outlined as during these four months. During this period, while preparations were underway, we moved home, lost one of our cats and, last but not least, I had daily tasks with my child. In the meantime, rehearsals started for Solar Eclipse by Sári and I of course also undertook jobs important for our livelihood. But I only have one pair of vocal chords and so I had to learn to balance between my professional life and private life. I was also forced to prioritise. I felt like an Olympic contestant who must also compete at the World Championships and the European Championships during the four years of preparations.
This sounds as if planning a career was an alien concept to you.
I do have plans but I usually do not wheedle for them and I do not grow over-eager for any role. What annoys me is when they take a role away that I had prepared for and that I think suits me well. If somebody told me today that I only have one day to prepare and I must sing as a substitute the role of Lensky in Moscow this weekend, I would happily do it, but if it was cancelled in the last minute, I would take that peacefully. However, if they took away a role that I had thoroughly prepared for and identified with it, that would break my heart.
And at a time like that, would new commissions not bring you solace? You will soon appear at two premieres.
Indeed, one of the aforementioned, Solstice, in which I received the role of Otto Katz. I really grew to like it and I have recently told myself: this is just like the 20th century, when individual truths and opinions only matched momentarily. Later in March, I will play Tamino in The Magic Flute. In Győr I will once again appear in The Tales of Hoffmann. And in June, I got another big role, when I will be Don Jose in Carmen, next to Viki Mester. Well, an award there would definitely bring me something good. Currently I am generally considered a "specialist" in modern operas and I keep getting offers but if I won that award, I could sometimes afford to say no. Or even if I accept an offer, I could also ask for a classic piece in order to maintain my voice. I now feel I've had enough of contemporary operas, I would finally like to sing some quiet arches.
Source: Fidelio.hu
