Q & A: Marie Karall on ‘Carmen,’ Theater Dortmund & Stylistic Differences

Mezzo-soprano Marie Karall has picked up acknowledgment all through the previous years for her “discernable dull hues” and her “exceptionally sensational tone and enthusiastic inclusion.”

The French mezzo has consistently raised her profile all through the world performing at significant venues as the Choregies d’Orange, Bordeaux National Opera, Montpellier National Opera, Avignon Opera, and the Theatre des Champs Elysees Paris, among others. Her collection is likewise far-reaching, going from the Bel Canto to French, Verismo, and Verdi and she has been rapid including the sensational jobs of the mezzo collection.

This season Karall will open the Theater Dortmund season with the creation of “Carmen” and will return for another creation of “Frédégonde” by Saint-Saëns.

Karl talked with OperaWire about her presentation in Dortmund, “Carmen” and her forthcoming activities.

OperaWire: You open the Theater Dortmund next season with “Carmen” a show you have done on various events. Enlighten me regarding your translation of the character?

Marie Karall: Carmen is a rich, extraordinary, and energetic character, radiant and complex. I consider her to be a free soul, rebel commonly, solid, and decided. Autonomous, she never surrenders her opportunity. She has a sort of creature impulse, an exceptionally evolved instinct. Even though Carmen is a controller and her issue with Don José began as a game with the blossom, she is additionally so entirety. I can scarcely envision that she felt nothing for him.

OW: What are the best difficulties of Carmen musically and character-wise?

MK: For me, the melodic test is to attempt to keep as close as conceivable to the score, the entire score, and only the score, and to overlook customs and certain propensities; regarding cadence yet additionally as far as subtleties. It’s captivating to perceive how Bizet needed his Carmen to be loaded with contrasts.

The two-part harmony « là-bas, là-bas dans la Montagne » begins pianissimo after some presentation phrases composed of pianississimo. I envision it as a murmur, a fine string of voice all around upheld on the breath. The sentences are of colossal excellence. By and by, the arrangement of the habanera is additionally exceptionally unpretentious and light, and the arranger requests that we start the aria piano. The force of the character doesn’t mean a consistent incredible voice.

Another melodic test for me is to try to be in offset with all the distinctive complex impacts in Bizet’s showstopper. “Carmen” is initially an Opera Comique, the quintet is by all accounts suggestive of Offenbach’s style. On occasion, we can likewise detect the impact of Gounod’s sentimentalism, and in the last demonstration, the music takes an increasingly emotional turn.

Character-wise, the test for me is to make Carmen be neither a personification nor be uniform. Hooligan, yet not forceful, enchanting yet without snickering, nor profane. Manipulative yet genuine, dealer yet devoted to her qualities, easygoing, and so on…

OW: How has your understanding changed throughout the years? What have you gained from accomplishing this work throughout the years?

MK: When I previously began playing Carmen Houston, I was centered around building and appearing the job. These days, it’s increasingly about building up Carmen’s inward quality, I have figured out how to additionally build up every last bit of her various subtleties, in the character itself, yet also in the singing.

Since the time the first occasion when I played Carmen, it has consistently been a thrilling encounter, showing me various things each time. Yet, I’ll always remember the first: as I was setting up my job debut as Carmen for Opera Hong Kong, I was gotten out for a sudden substitution at the Latvian National Opera, which unquestionably showed me the ability to work in crisis for instance!

OW: What are a portion of your preferred pieces of singing this job?

MK: The two-part harmony « là-bas, là-bas dans la Montagne » I was discussing before, is, for me, one of the most lovely ones. It’s a medicine for the spirit and the voice. I additionally truly like the last scene, wherein the music is so expressive and the ensemble so ground-breaking! I have goose pimples inevitably!

OW: What are you anticipating in your introduction at the Theater Dortmund?

MK: I’ve constantly appreciated Germany for its awesome ensembles and extraordinary melodic culture. This will be my second time over yonder, I previously did “L’Enfant et les sortilèges” in Stuttgart (SWR) for which a record was made. Opernhaus Dortmund has incredible creations, so it’s a respect for me to be welcomed as a visitor, and I’m especially anticipating it!

I was conceived by the banks of the Rhine, in Strasbourg, so German culture appears to be fairly natural to me, and I can hardly wait to appreciate some increasingly German baked goods!

OW: Next season you will likewise do “Frédégonde.” Tell me about the work and what crowds can expect as far as music? How are the styles of Saint-Saëns and Dukas comparable?

MK: This work dives us into the core of French history, the Middle Ages. Frédégonde, spouse of Hilpéric, Queen of Neustria, and Brunhilda, wife of Merowig, Queen of Austrasia, the battle to transmit the realm of the Franks to their relatives.

Frédégonde, a hireling who got the top pick, at that point Queen, was nicknamed “the ruthless Queen.” Ready for anything, in her tireless journey for power, she slaughtered any individual who may have impeded her desire.

The task is driven by the Dortmund Opera House, as a team with the Palazzetto Bru Zane. As you bring up, this drama is by Ernest Guiraud and Camille Saint-Saëns, however, Guiraud passed on three years before the Premiere of Frédégonde. Holy person Saëns, out of companionship, composed the finish of Acts three, four, and five. The coordination of the initial three acts was completed by a student of Guiraud: Paul Dukas. I like the pages composed by Saint-Saëns, an author that I especially appreciate.

One can take note of a distinction between these writers specifically “in the treatment of the emotional plot: where the music of Guiraud/[Dukas] forces a consistent pressure, the less thick one of Saint-Saëns regards more the subtleties of the portrayals” (Etienne Jardin).

OW: Your collection is extremely different. You sing a wide scope of styles from Verdi, Verismo, and French. How change by the various styles and what do you find generally agreeable for your voice?

MK: When I move between various composers, I attempt to keep up sound singing and attempt to abstain from changing my vocal yield, or undermining my vocal character. I fundamentally deal with style and hues with my vocal coaches, and the language as well. I feel great in the styles of Bizet, Saint-Saëns, Massenet, Verdi, and Offenbach occasionally.

I’ve never sung Wagner in front of an audience, however, I discover the jobs of Erda and Brangäne interesting. I love Donizetti as well. At present, for no particular reason, I’m singing the aria «Que Faire, sol adoré» from Don Sebastian, Roi de Portugal.

OW: How is the French style unique about the Italian collection?

MK: There is such a great amount to the state. For instance, in Italian I append incredible significance to prosody, complements. Italian is an open language, with excellent vowels. In French, extraordinary consideration must be taken in the nasals, the [e] quiets toward the finish of words, in addition to other things.

OW: Do you have a most loved drama or most loved job that you love to sing most and do you have a fantasy job?

MK: I love Carmen, Dalila. The Holy Grail for me is Charlotte. Be that as it may, I additionally dream of shorter jobs like Pauline in the Queen of Spades, or Maddalena in Rigoletto. Maddalena, for instance, at the Metropolitan Opera and the Opéra de Paris, would be a delightful blessing from heaven, since they speak to probably the most elevated levels of excellency.

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