In recent years, many singers from Russia and the countries of the former USSR have appeared in German opera houses. And not just singers, but talented soloists who are trusted by the leading parties. So at the Stuttgart Opera and Ballet Theater, a graduate of the Yerevan Conservatory Karine Babadzhanyan sang the part of Tatyana in the production of Eugene Onegin.
In Stuttgart, director Waltraud Lehner decided to stage Tchaikovsky’s opera, familiar from childhood, in an ultra-modern style. Instead of Russia of the Pushkin era, the audience saw on the stage a Khrushchev building of the 90s with a garbage can and drunken homeless people, because, according to the directors’ plan, a modern provincial girl fell in love with the capital Onegin. In the Stuttgart play, Tatiana writes a famous letter on street posters, Lensky periodically drives a construction lift instead of horses, and the third act takes place in a fashionable ski resort, where you can see the nanny Filippovna, and Tatiana herself in tracksuits and with skis in her hands … opera, German directors and how to make a career in Europe, our correspondent talked with the singer.
─ Karine, how do you feel about this production of the opera, where your heroine is forced to write to Onegin on posters and lie wrapped in wallpaper?
─ This is not new to me, unfortunately. I have been working in Germany for a long time, and German directors are distinguished by the fact that they always try to change the classics, not only of our beloved Tchaikovsky, but also of Verdi, Puccini and Mozart. It is considered not fashionable to stage performances the way the composer himself wrote it, it seems to the directors kitsch and archaic. And I’m still waiting for this fashion to end, because I really want to sing Tatiana or Toska in historical costumes. And it’s also a shame for the viewers who cannot see what the author intended. After all, about Eugene Onegin, for example, Tchaikovsky once wrote that the opera must be performed by young singers and must be performed in historical scenery.
– That is, you put up with the position of German directors and do not express your opinion?
─ I am expressing it, of course, but it is rather difficult. After all, the director comes to rehearsals with a ready-made concept, scenery, his own vision of the performance, and one artist cannot change anything. The director has become the most important figure in the theater today. There was an era of singers, an era of conductors, now is the time of directors who, it seems to them, have the right to change not only the historical surroundings, but also the music itself. Thus, a director at the Stuttgart Theater, for example, forced the conductor to pause in a place where it was not intended by the composer. I was told from the very beginning: in the letter scene, Tatyana should not write the letter itself. How?! At school, like everyone else, I learned by heart this excerpt from Pushkin’s poem, “Onegin” seemed to me a wonderful love story. And I sing to the nanny: “Give me a pen, paper, and move the table, I will soon lie down …” So I tried to express in Tatiana her emotions, her state of mind.
─ Was this your first experience of performing Russian classics in Europe?
– No, I also sang in Tchaikovsky’s Mazepa in Bern, Switzerland, with very strong singers, but also in a modern production. This differs not only in Germany, but also in other German-speaking countries. In Italy, for example, the situation is fundamentally different, there the public opposes innovations in every possible way, if they don’t like it, they can shower the artists with tomatoes. German audiences are more open to experiments, but it seems to me that they have already gorged themselves on superintellectual performances, where everything comes from the head and mind, and nothing is left for the soul.
─ You started your career in Yerevan …
– Yes, after graduating from the conservatory, I immediately entered the Yerevan Opera House. The 90s were very difficult for Armenia ─ we had to sing in cold rooms in winter, heat with kerosene stoves, as during the blockade. But in Armenia, music is extremely fond, and, despite the cold, music lovers still came to the performances. Every Monday we gave concerts in a small frozen hall, prepared a special program – Verdi, Tchaikovsky’s romances, Russian music, we worked with pure enthusiasm. Then, at the Philharmonic, she also performed concerts every week for … 10 dollars, that was the salary.
─ How did you end up in Germany?
─ I took part in the European Italian Music Competition, took fourth place, and was invited to work at the Koblenz Theater. I wanted to sing in Europe because I saw how high the level of performing here is, and besides, in Yerevan there was simply no opportunity to work normally … But, of course, I could not even imagine myself being in Germany. Italy, the birthplace of opera, is the dream of any Armenian singer. In Armenia, after all, they think only about La Scala, in the worst case – about Covent Garden or the Metropolitan Opera. And now, when I visit Yerevan, I try to explain to young singers that in addition to famous theaters, there are others where you can start your career. At the Koblenz Theater, I sang my first Cio-Cio-San, although at first I was very afraid to perform this part, it seemed to me that I did not have enough experience for it. But then it turned out that this is really my role, and “Madame Butterfly” now follows me everywhere.
─ Perhaps it is very difficult to sing in a foreign language, in Italian or in German?
─ Not easy, of course. But now I speak Italian and I really feel the difference between the current performance and the previous one, when I did not know the language yet. By the way, it seems to me that the audience understands this and notices whether the singer consciously pronounces the words. After all, words that come from the heart are the most important thing in opera.
– Are there any famous Armenian opera performances that you would like to introduce to the European public?
─ “Anush” by Armen Tigranyan is our most famous opera, very beautiful, with national costumes. But it is unlikely to be of interest to German directors, therefore, most likely, we will stage it in the Armenian diaspora. There is another role that I dream of: Paolina in Donizetti’s opera Poliuto. This is the role of an Armenian princess and a wonderful soprano part for my voice.
─ Russian theaters, like the one in Yerevan, have always been “famous” for intrigues and endless squabbles. Does the German theater also have a “like-minded terrarium”?
– It was even worse in Armenia: there is the only opera house in the whole country. Can you imagine what kind of competition there was ?! It was extraordinarily difficult to advance with 16 Desdemones competing for the role. And when they gave me the part in “Troubadour”, I simply could not believe it, because at least ten sopranos dreamed of singing Leonora. In German theaters, of course, more European relations, however, and here the competition is not sleeping. But in Germany everything is designed for an individual singer, and if the management invites you to the troupe, then you are obliged to provide you with work. You know your repertoire for several years ahead and you are paid a salary for singing, not for intrigue.
─ In almost all German theaters in recent years, many names from the countries of the former USSR have appeared. Is it due to the fact that in Germany it is easier to get roles or only with financial circumstances?
─ I think our music education system was much stricter and better, which is why we have so many strong soloists. The selection was incredible, even in Armenia, not to mention Moscow. Of the 500 soprano singers, only 10 entered the conservatory: the best voices, appearance, musicality, almost harmony and music theory had to be passed in entrance exams. Therefore, our education is highly valued in Europe. And, besides, I have been observing this phenomenon for a long time: our guys are more purposeful, they have a strongly developed desire to break through to the top … Probably, this also plays a role.
─ Do you think the crisis that is currently happening all over the world will affect the theater and the opera audience later on?
─ Definitely. Orchestra musicians are afraid for their places, possible reductions. Theaters – especially small theaters – are likely to experience unpleasant economic changes. However, let’s hope that the German audience, which is very fond of music and goes to performances with whole families, will not change their passions …
Irina FROLOVA.
Our reference: Karine Babadzhanyan worked at the opera houses of Koblenz and Bielefeld, was a soloist of the permanent staff of the Stuttgart Opera House. The singer regularly performs in theaters in Hanover, Hamburg, Oslo, Wiesbaden, Mannheim and Berlin, at international music festivals. Has performed the roles of Countess in The Marriage of Figaro, Leonora in Troubadour, Maria in Mazepa, Donna Elvira in Don Guana and many others.
Her starring role – Cio-Cio-San in Puccini’s opera Madame Butterfly, which she has performed in 15 productions of various theaters. In September 2014 she premiered as Ariadne in Strauss’ opera Ariadne auf Naxos at the Deutsche Oper am Rhein, in 2015 she made her debut as Helena in a new production of Mephistopheles at the Bavarian State Opera.
Last season, the singer sang the title role of Tosca at the Deutsche Oper Berlin and Minnie at the Leipzig Theater. Performances at the Korean National Opera in Seoul and Shanghai have unfortunately been canceled due to the coronavirus pandemic. In the 2020/2021 season, Karine Babajanyan is due to debut at the Seattle Opera as Tosca.
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