German Baritone Michael Kupfer-Radecky, greatest recognized for his roles in Wagner and Strauss operas, made his Canadian debut two years in the past as an intensely formidable Jochanaan in COC’s Salome. He’s again in Toronto, which he calls his new favorite metropolis, to sing the title function within the upcoming COC manufacturing of Alban Berg’s Wozzeck. Coincidentally, this 12 months marks 100 years because the opera’s premiere. This can even be Michael’s function debut.
It could come as a shock that this worldwide star didn’t observe a standard path to turning into an opera singer. He didn’t develop up in a musical household, didn’t play a musical instrument as a baby, and was not excited by singing.
He did, nonetheless, have an early curiosity in appearing. His first publicity to opera was by means of a recording of The Magic Flute he acquired as a present for his eleventh birthday, which fascinated him and planted the seeds for his love of opera. It was not till age 17 that his lecturers found he had a voice, and urged him to take singing classes. After profitable first prize at a voice competitors after solely six months in music faculty, it dawned on him {that a} profession as an opera singer can be an ideal marriage of his ardour in appearing and expertise in singing.
And the remainder, as they are saying, is historical past.
The Opera
Alban Berg’s Wozzeck is taken into account one of the crucial important works of Twentieth-century musical modernism. The opera tells the tragic story of Wozzeck, a soldier laid low with his superiors, betrayed by his lover, and in the end pushed to insanity and violence.
Its themes of social exploitation, despair, and human struggling are powerfully conveyed by means of Berg’s revolutionary use of atonality, dissonance, and expressionist strategies.
We spoke to Michael about his upcoming efficiency.
Michael Kupfer-Radecky: The Interview
LvT: Inform us concerning the character of Wozzeck and the operatic challenges of the function.
MKR: It’s a difficult function, each vocally and musically, as a result of the composer needs completely different kinds from you. There’s pure singing, and talking on a singing tone, which is neither singing nor talking. Then there are pure talking elements the place it’s a must to shout with a standard voice over the orchestra, which is loud in these locations.
The character of Wozzeck is an actual individual, and it’s a true story of one of many first historic circumstances the place the regulation needed to determine if he was of sound thoughts to be on trial for homicide. Berg had served in World Battle I, and he wrote his private experiences and inside emotional turmoil into that function. These feelings are laborious to study, really feel, memorize and transport, which makes Wozzeck one of the crucial troublesome roles I’ve carried out.
Lots of people assume Wozzeck is a darkish character, however I don’t assume that. Everybody round him — the Physician, Captain and Drum Main — are loopy, and his spouse Marie betrayed him. Wozzeck, together with his easy thoughts, is making an attempt to get by means of and discover his approach. However he can’t handle all the things that individuals need from him, and this makes him not a nasty character, however a tragic one. For me, it’s so attention-grabbing to look deep inside myself to seek out one thing to place into this sophisticated character that’s trustworthy and true for the viewers.
LvT: How do you put together for this function?
MKR: I began studying this function final July, so it’s taken me greater than 9 months. It’s by means of quite a lot of repetition to get all musical traces and the troublesome and particular rhythms to grow to be pure within the physique, like muscle and vocal wire reminiscence, in order that I don’t have to consider it. And dealing with a pianist is necessary while you put together, particularly for a job like Wozzeck.
LvT: Inform us about this COC manufacturing
MKR: The set has quite a lot of projections, movies and work. It’s a like massive, dwelling paintings, which the characters grow to be a part of. I feel for the viewers, they are going to really feel like they’re in a museum with a stay portray unfolding in entrance of their eyes. I’m wanting ahead to seeing their reactions.
It’s my second time working with the COC, and I really feel at house right here. It’s a good environment to work. Everyone seems to be so type, useful and supportive, which isn’t at all times the case in Europe. The spirit right here is particular. For me, it’s like working along with household and mates!
LvT: What are your favorite roles? Future dream roles?
MKR: My favorite function is Hans Sachs from Wagner’s Die Meistersinger von Nürnberg. It was considered one of my very first dream roles, and nonetheless one I actually like to carry out. It’s so filling for the center and soul.
For the long run, there are two roles in operas by Richard Strauss I’d love to do: Barak in Die Frau ohne Schatten and Mandryka in Arabella. And a enjoyable reality: I’ve by no means carried out Papageno in The Magic Flute! Virtually each baritone has carried out it in his profession, however not me, although it’s the opera the place it began for me!
- COC’s Wozzeck will play April 25 – Might 16 on the 4 Seasons Centre in Toronto. Discover extra particulars ant tickets [HERE].
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Denise Lai is a Physiotherapist and Faculty Professor. She is an alumnus of the Toronto Mendelssohn Choir and a rusty piano participant.
