...But never fear, this activity is not closed for me with that for a long time yet. Certainly will the wonderful father role of Bajazet in "Tamerlano", who raves and rages but also as well mourns and supplicates, who knows the Lamento and salivates coloraturas, anytime take complete possessian of me. But that can still wait. However next to this demanding Händel tenor role is the Grimoaldo in "Rodelinda", about who I'm thinking wholehearted. With the regard to deadlines fixed is as stylistic intermediate Mozart's "Idomeneo" in January in Paris. Of course with Emanuelle Haim on the rostrum, but also with Anna Netrebko, with who I will further on to perform.
Welt Online: Well actually is Monteverdi rather "parlandohaft" (sorry I haven't ever heard this word before...), it's in particular going about the expression. At Händel is ever brought up the big coloratura cannon.
Villazón: There I had to back to my roots at the conservatory. There I ate very much frets in Rossini roles and for example Mozart's "Ré pastore", I haven't worked on it for ten years. Now I have trained again for six months this part of the voice. I did aware listen barely to recordings, wanted to find with McCreesh and the fantastic cembalist Jory Vinicour, with whom I have again and again worked on the da capo parts and ferts, really an own, my Händel style. This was unbelievable creative, I would sometimes wish this for my other roles, where the singers used to play a much bigger part in the performance practise with their specific possibilities.
I'm sorry that I always just translate a few sentences, but Rolando always talks so, so ideomatic, that I need soo much time for understanding and translation...
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