Madrid Updated:18/01/2020 02:18pm
Olga Peretyatko (St. Petersburg, Russia, 1980) seems anything but fragile. The soprano, who plays Pamina in the production of ” The magic flute” that presented the Theatre Royal from tomorrow until the end of February, shed security and assurance even when it comes to your weaknesses. Practicing yoga nidra because it will relax you and will recharge energy, it was karate, likes to run -“better than the gym”-, moves to Madrid with scooter and has been discovered on this second visit our city -the first was to sing “Rigoletto” at the end of 2015 – the meaning of our nap. “I didn’t get it, but I have understood that if you make a little rest after lunch is healthy the nervous system. And now I fall asleep half an hour after eating”. There are those who say that the spaniards and the russians have a similar character. “The russians and the spaniards -nods-we’re in that we both like to leave everything to the last moment”.
The functions of the Teatro Real (Olga Peretyatko sings on days 21, 25 and 30 January, and 2, 7 and 10 of February) will represent the debut of the soprano in the role of Pamina; it will be the third character of “The magic flute” that incarnates it; “I did the Queen of the Night in the Conservatory and Papagena when I was in the Opera Studio of Hamburg”. “Mozart is so, you can sing all of his parts… Well, almost all. Yesterday, after rehearsal, I thought: why don’t I have sung before this role?”
The singer herself respond to this question. “At the beginning of my career -of any race, in-fact, what you wanted was to show… And when you are only looking to demonstrate that you’re the youngest, the most beautiful, the most high… you walk on a path to neurosis. With the years and experience I am calming… a few years Ago I had a life crisis; I believe that all, the past thirty years, we would have to go to the piscólogo to understand all the processes that lives in our mind. We do not understand why we are not happy with the things that produced happiness before… I in two years I changed my country of residence, of husband, of representative…. I felt like I was going crazy, I didn’t want to sing, not that he wanted to travel, I felt tired. But I’ve overcome, I’m stronger than before, and singing better than before surely. There comes a time when you realize that the public will understand. The critics were the first to realize this change in my voice and my way of singing. The voice is like a machine that has to be adjusted with time, and can only be done by working”.
Defends Olga Peretyatko who praised his technique but accused him of coldness. “It has to do with the repertoire belcantista; the agilidades require a control of the technique that will make it difficult to get to the bottom of the emotion. Alberto Zedda, the great specialist aptly said that the technique is not more than control.”
The characters belcantistas are, in general, less interesting than those of the verismo, for example. The singer has begun to take characters who, like the protagonist of “Anna Bolena“by Donizetti, they have a lot of strength. “It’s verismo, after the bel canto”, he explains. But not in a hurry to immerse themselves in a different repertoire. “Yes, and I wish it to happen, I have a child, it is possible for me to change the voice, and it will be time to address other operas… But I don’t know. Now I prefer to be in the audience and see the Mimi in “La bohème” or Tosca, two characters that I adore -well, Tosca perhaps less, because it is a hysterical-. In addition, it is difficult to find a conductor suitable who knows how to take care of the singers in this repertoire”,
The solution has been found, also, over the years. “I have understood that it is the voice, the timbre, the color, what comes to the soul. I don’t want to say that you didn’t have to take care of the pitch, it does not have to sing the notes with accuracy… Not. You need to combine the heart and the mind, the emotion and the technique. And the balance is reached with maturity. But it’s all in the head”.
The more you live, the better singer you are, says Olga Peretyatko. “If you don’t lose -he adds-. I’ve been six years without a vacation. During this time did nothing more than to fly and sing. Until I realized I had to stop, because sometimes I would wake up in the night in the hotel and not know where he was; the rooms are more or less equal. And I decided that I had to take a vacation”.
The soprano Russian found an ally in Wolfgang Amadeus Mozart. “It is the best psychologist there is. He perfectly knows the human being and his acts, negative and positive acts. It’s amazing how a man so young -let us not forget that he died with only 35 years – had so much sabiudría. It is amazing”. In addition to a psychologist, Mozart is a wonderful singing teacher. “So it is. The same is true with the bel canto: is a base for everything. I come to sing ”Don Pasquale”, “Lucia di Lammermoor” and “Anna Bolena”, and Pamina in “The magic flute” is, vocally, like a vacation. It is a role that does well, even if we have a coach of German that does not pass, nor a” he laughs.
And is that the production of the Royal Theatre of the opera of Mozart is, for singers, extremely demanding; there are no sets, only projections, and they have to synchronise their movements with those of the images. Pamina assures Olga Peretyatko, who has three thousand things to think about: “costume changes, movements… iswhy I will not be a low? -laughs-. Sarastro sits and sings. Nothing more.”
But now, at the edge of the forty years, recognises the soprano who enjoys much more of the stage. “I have understood that we must not take anything for granted. There is give thanks for each day that you live and not leave anything for tomorrow. I think Dmitri Hvorostovsky -a baritone Russian who died fourteen months with only 55-years. I was very young, did not expect to die. No one expects to die at that age. This is a warning to all, because it makes us realize that there are living the day-to-day.”
Has spoken to Olga Peretyatko of personal crisis. It is not an exception in the world of opera, where singers like the Spanish Ainhoa Arteta and Carlos Álvarez, and the mexican Rolando Villazón had vocal problems in crossing the threshold of forty. “The crisis is a signal; the reaction may be pessimism, to speak ill of everything or, on the contrary, to give back. I prefer this second option, but it is a choice. Life is full of decisions; to speak evil or not, go to the right or to the left, say yes or not, sing or not to sing, drink water or a beer… Every day we are faced with decisions. And I do not understand people who adopt a acitud negative, because in addition I think it all comes back to us, it Is the karma“.
Regrets a modern conception of the singer as a deporsista: “faster, stronger, higher…” “I don’t know, is the world that is changing; it is becoming a lot more chaotic, everything is information, every time more fast… recently I’ve worn glasses because I have myopia and when I was in the theatre, for example, I couldn’t see well from far away. I wore it two days and saw everything with total clarity… And I thought that perhaps the sight imperfect protects the brain against such outside information. We don’t need to read perfectly a sign that is far away from us. The same thing happens with the information or with the social networks. We don’t need to know certain things from others… And I use social networks, but be moderate”. And, above all, sincere. “I have decided that I want no more lies in my life. It is easier and better to live in when all is clear”.
Translated from ABC News https://www.abc.es/cultura/musica/abci-olga-peretyatko-mozart-mejor-psicologo-existe-202001180218_noticia.html