I read somewhere that you learnt the role in nine days during a course in Balassagyarmat. How long ago did you start preparing for it internally?
About two years ago when Ádám Fischer first asked me to take the role. The actual re-learning process started in mid-May.
So far you have been most closely associated with Carmen, especially since you described yourself as an "eternal Carmen" once. Did you try to compare the two characters while preparing for the role of Judith?
No, I cannot and do not want to do this because the two characters are so different. When I play Carmen - even if I play myself in the role - the character of the role is determined by its cultural background which is completely different from mine. In my everyday life, I do not behave like she does, I do not live by her norms and this is exactly what makes her interesting for me. I enjoy this role because it is so far from me and discovering the unknown is always a joyful experience. Unlike Carmen, Judith is a character described only in general terms, who has been defined as a woman but we do not even know of she is Czech, Hungarian, or any other nationality.
Then we could use the commonplace that Judith can be interpreted as a general female character?
No, because I am not playing the woman, but put myself in the role. Those who see me will meet Viktóra Vizin and not woman in general or Judith. I have built up this character from a series of my own experiences and for every little turn I found a suitable situation from my own life. During the performances, audiences will get to know Viktória Vizin, as a woman of course. Everyone can draw whatever consequence they want from the performance, but what I present from start to finish is myself.
You said at the press conference that you were especially happy about the adaptation of the opera being from a theatre perspective. Do you think this is very important?
I was happy about this because I always wanted to be a prose actress and have often suffered from the lack of such opportunities when directors "only" want me to sing and do not dare making changes to the performance. The psychological approach applied here is not alien to me and I think it is a basic requirement for character development. I consider it an exciting challenge if we dare re-examine the sound technique approach in an opera and go along playing with it. Bartók composed a modern piece and I believe it is completely acceptable if there are certain sounds that we only whisper, if cries are sometimes muffled and other times are expressed at maximum volume and in a panic. Don't misunderstand me, I sing whatever is written, but I also add something extra, to make my playing more colourful.
What is the main difficulty in executing such a daring and truly individual-centred performance?
I always undertake a role only if I find the character interesting, if it offers something new to me. I never get scared of executing the musical or especially sound technical aspects of a piece because I actually subordinate myself to it. I usually say that the task is always feasible if the character is right.
Did it cause any headaches to switch over from Carmen's dynamic stage situations to the more intimate micro-world created by Bartók?
My favourite part is the 4th act in Carmen when I express the drama with the help of miniature face gestures I find suitable for the situation. I do not walk around because I think it would be a cheap trick that is alien from prose theatre. And now in the role of Judith, the same task has been given to me. Once again, I do not move about on stage unnecessarily because the grand moments are expressed through my face and body language. Of course, the piece is not static, either, so there will be some running around when necessary.
A few years ago, you were invited to a programme on Duna TV and the hosts were greatly surprised to hear that it was your first ever television interview in Hungary. Has Judith brought you the recognition and interest from audiences that - I felt - you were missing at the time?
Look, I am of course aware of the importance of the media and self-management but I dedicate myself to art so much that I want to attract attention mainly with my own character and natural approach. I will not create a scene unnecessarily just to attract attention. All of my life, I've been a character who is either liked or rejected, and there was never still water around me. This is great feedback for me so I can rest assured that I stayed true to myself, I am increasingly natural and this is the way I plan to continue living my life.
Interviewer: Timi Papp / Source: Fidelio
