Opéra National du Capitole • Interview with Adèle Charvet

cover of Cenerentola by Gioacchino Rossini, with two casts full of promise, and under the direction of maestro Michele Spotti, an expert in the field, is undoubtedly one of the strong points (but are there also any weak ones?) of the 23/24 season at the Opera National du Capitole D.Toulouse. They allow us, among other joys, to discover the first Angelina, written by the French mezzo Adele Charvet, who returns to us after a compilation Rosina. Instead Two years ago.

encounter.

We met during your visit to Toulouse for The Barber of Seville by Rossini in May 2022. A little special hairdressing because you were on stage just weeks away from becoming a mother for the first time…

Actually, I was about 7 months pregnant. It’s a very happy memory because this opera house is really amazing. Especially considering the situation, everyone was paying attention to me. But that still didn’t stop us from doing very serious work. The singers know it well, at the Capitol we are safe in a place brimming with artistic generosity. Also, as far as I remember, my “condition” gave me a lot of energy.

How did the resumption of your lyrical activities happen?

I really wanted to start again quickly. I did it after about five weeks with a repertoire that was very fluid and supple for my voice. This allowed me to slowly rebuild my body as well as my equipment in terms of breathing, support, etc. i started again chosen woman By Claude Debussy at the Berlin Philharmonie. Then I made a series of Mercedes carmen In the Opera Bastille by Bizet, a role I have already sung and which my body remembers.

Angelina, who you sing about for the first time, has a much more complex personality and lesser creation than Rosina. What do you picture this?

First of all, let me tell you that I dreamed of it because it is a personality, and you are right, far more complex and therefore more interesting than Rosina. He is a stoic and flexible character. So Rossini wrote for them moments of great virtuosity, of course, with singing, but also moments of extraordinary lyricism. Angelina does not experience the ongoing action, she controls it from a fixed point of view. And to close the book, she offers her family forgiveness without any weakness or foolishness. Very valuable character.

Is the tone and style of Angelina so similar to Rosina, Rossini’s Cenerentola, that he classified as a drama giocoso?

It is absolutely true, an opera between seriousness and clownishness. What’s more, this is reflected in Angelina’s voice as well. In this regard I would like to salute the wisdom of Christophe Gristi who waited for my ideal moment of vocal maturity to entrust me with this role, a role that was undoubtedly more difficult to sing than Rosina. In oral writing the writing is very central whereas in the trilingual it requires great detail. Furthermore, the role is long and ends with a huge final scene that requires a lot of energy. It’s worth thinking about… This scene is a moment of great universal jubilation to such an extent that the composer has already used it for the grand final aria of his Almaviva barber of sevilla, And we’re lucky to be in the Capitol for this Cenerentola a great conductor, michelle spotty, which allows singers to express themselves musically and vocally in complete freedom. It’s a bit like the definition of joy.

This score features groups that seem crazy to put together. Are they more difficult than arias?

These sets are dangerous if we take them lightly. Especially because they often use syllabic singing which requires extreme flexibility and devilish swiftness in delivery. These outfits are very demanding and require just as much work as the aria. But I must say that the two actors of this show create two real “soldiers” within which the relationship is perfect, each listening to the other. Add to this a careful staging and you have the ingredients for a real challenge.

What are your upcoming roles?

Today I feel and hear that my voice allows me to consider more lyrical roles. Of course, I would sing my current repertoire as long as possible, but the next year I accepted my first Carmen. It will be in a theater that matches my voice for this role, Versailles. I don’t accept big rooms. I will also addressAriodante by Handel and, to my mind, Charlotte’s werther, I am very attentive to my voice and whatever changes there are in the repertoire, I will do them in houses and with conductors capable of supporting me because these characters are real challenges and you always have to be careful with them.

And after Toulouse?

I have a whole series of concerts in France, in Newcastle and London in the United Kingdom, then in Berlin in Germany, then in Portugal, Denmark, etc.

Comments collected by Robert Penaver
An article from ClassicToulouse

> La Cenerentola Osea La Bonta in Trionfo

>Opera National du Capitole • Interview with Philippe Estéfay

National Capital Opera
From Friday 29 March to Sunday 7 April 2024
Website • Online Ticketing