Anna's latest interview

Anna gave her latest interview to "The russian newspaper". I think it's a very interessting interview. Hope you like it as much as me =)

In search of treasure

Well-known opera star Anna Netrebko left the decree and sings again

After sorts Anna has dated the debut for a premiere in Mariinsky theatre. American director John Doyle has staged the opera "Lucia di Lammermoor".
At the native theatre it she arrived, flied as on wings. Admitted: very much of it has become bored! looks remarkably. Has a little grown stout after sorts. But it is even to the person. The shining eyes, a smile not descending from the person give Anna away.

- Yes, I am very happy, - she speaks. - I have a favorite husband, at us with it the remarkable son was born. A life just fine!

About the private life of the well-known russian singer, this interview has turned out for the whole world.


The Russian newspaper: With returning to a scene, Anna! You look perfectly. Also sing so as if there was no long break in an actor's career. Have you easily entered into a working rhythm?

Anna Netrebko: Thanks for kind words. The break has turned out at me not such and long - 4,5 months. If it was possible, I still at home would sit.

RG: Not similar on you! Taste to home life has woken up?

Netrebko: Yes! After the birth of my son Tiago Aura I wanted to be simply a mother and wife. The name of our kid we with the husband (Uruguayan bass-baritone Erwin Schrott - bus Comments) selected long. It would be desirable, that it was unusual or, at least, rare. The second part of a name was thought up by me. It occurs from the American Indian word meaning "treasure". At Erwin’s family tree roots leave to tribes of Indians guarany. But houses we call the son simply Tisha... I returned on a scene right now because there are contract obligations. They need to be carried out. Besides really I love the scene, I like to sing. I’m really happy, that the returning has taken place in Russia. It is glad, that it was possible.

RG: Anna, it is possible purely a women's issue: during sorts you, a case, did not sing? Speak, such happens with actresses...

Netrebko: I did not sing and did not shout. Normally itself felt. Nearby there was a husband. I at first did not want, that it was present at sorts. But he of anything cannot be forbidden. Has told, that there will be, and everything, is solved. Held me for a hand, looked in the face. Supported, as could.

RG: And the son of two remarkable opera singers yet has not started singing?

Netrebko: He is only four months old! However, already, apparently, tries to talk, something all time tears to inform us. I, to tell the truth, I don’t want, that he will be an actor. It is not necessary to us of talents, geniuses, child prodigies. Let grows the normal, sociable, benevolent person. This is what is more important.

RG: Have your fine voice not changed after becoming mum? There are many singers who are afraid because of it to have children.

Netrebko: I think, if the woman wishes to have the child it should have it. And if she wishes to return after that to a trade will necessarily return. It is just necessary to want very much. I have not noticed yet, that my voice has strongly changed. I don’t plan to change the repertoire. I like what and how I sing.

RG: The inspiration is not on sale ?

Netrebko: Excactely

RG: You arrived at St. Petersburg all for some days to sing in two premier performances of an opera "Lucia di Lammermoor". It turns out, practically without rehearsals? With actors whom almost do not know?

Netrebko: I am frequent, so I work. Anything terrible for the skilled fighter! My colleagues on performance represent basically young generation of the Mariinsky theatre. I never sang with them before. But they are very talented. And with the talented persons it is easy to sing. And it surprised me, at once there are three soloists-tenors on one of the main roles, Edgardo. Usually very uneasy to find the executor on this role, and we have three at the Mariinsky theatre. „Lucia “, according to the contract signed several years ago, I should execute in February in the USA at the Met. But so I would like to return on a scene after sorts in the Mariinsky theatre! And Valery Gergiev in turn dreamt for a long time about a new "Lucia". So all has successfully coincided! That I rehearsed a little... At many western theatres works this system: the main executors come two days before the performance, in a separate room it tell, where and that on a scene costs, designating colour bits of paper doors and, for example, steps. Pair of rehearsals and - forward, on a scene, to public!

RG: Are there never any problems ?

Netrebko: There are unpleasant unexpectedness. In Munich have somehow put performance "Rigoletto" in which action occurred on a certain planet of monkeys and all heroes accordingly monkeys. And main heroine Dzhilda who was played by me, was in a survival suit, moved in any spaceship. Not only that it is not clear, about what performance, but also it is very difficult to sing in offered conditions. I remember, at the end have practically lost a voice. Very big stress has gone through then. The second performance has refused flatly. Now I try to be more cautious, attentively I get a grasp of the contract. Before to sign it, in detail I ask: what for statement?

RG: A couple of years ago you said to me, that you like non-standard courses of the directors, different scenic unexpectedness.

Netrebko: And I don’t refuse from these words now. Sometimes classics put very boringly. But also to modernize it is necessary cautiously, with mind.

RG: Don’t you wish to put a performance?

Netrebko: I am an executor, not the director. I can change during execution something in an aria. For example, a rhythm, dynamics of product. Or to take a pause there and when itself I want as it seems to me more natural today instead of as the composer has written 100-200 years ago. Sometimes because of it there are disputes with conductors. Somehow I sang Donna Anna at the Met. Has changed very little. The conductor nevertheless was indignant: As Mozart wrote it like this it is all so! I answered with a smile: this opera has been written hundred years ago and today it is possible to afford something in it to reconsider. Mozart, most likely, would not object against such alterations.

RG: There are such operas in which you, most likely, will never sing, but very much it would be desirable?

Netrebko: It is Wagner's opera "Lohengrin" and Strauss’ "Salome". Favourites of Verdi - "Don Carlos" and "Troubadour". Roles, unfortunately, not for me.
RG: And on the contrary, the role is not pleasant, but sing?
Netrebko: If I do not like a party, either the whole opera, or its statement, I refuse at once. And no fees will change my decision.

RG: The inspiration is not on sale?

Netrebko: You said it.

RG: Your voice remained after sorts same pure and beautiful as it was. And are you happy with your purely physical form ?

Netrebko: Do you know how it is possible to be happy if I have recovered on 8 kg ? I strongly worry because of it. My weight - the only thing that weighs me now. I nurse it all after the birth of my son all four months. Therefore, probably, any gramme yet has not dumped. But now, I hope, I will start to grow thin promptly. I wish to return to my habitual weight. Particularly to wear the favourite dresses. Actively I am engaged in fitness under the guidance of my husband. Erwin - the fine trainer!

RG: Isn't your husband jealous on singers with whom you play a love scene? You do it so is live, that the impression, as if at you and really the love novel with the given actor is made.

Netrebko: My husband told me recently: everything, more than any kisses on a scene. And itself, by the way, all time plays Don Juan. So it doesn’t reproach me. Last time, the truth when I saw its performance, it has been somehow held down. In an interval I have come to it for side scenes, have told almost seriously: relax, you - Don Juan, that is the temper. Well, give seduce women. It is silly to hesitate at a scene. If it is required to play love, play! And if the actor hesitates of something, any complexes at it is necessary to change a trade urgently. Well and if partners not simply play feelings, and start them to test, not leaving thus from frameworks of an image, - that in it bad? On a feeling scene are always aggravated. But the head should remain sober, cold.


Thanks a lot to Anatoly for the info and the translation !