You belong to certain houses, experiencing beautiful artistic moments there, like Bordeaux. What about Toulouse?
I have very strong links with Toulouse. Capitol director Christophe Christie values the loyalty of his singers, and especially young French singers whom he brings back every year or two for more interesting roles. So this is my third production after the third flower girl role Parsifal And most of all he gave me the gift of giving Rosina two years ago, when I was six and a half months pregnant.
Angelina, so, this is your role.
Yes, Cenerentola has been a dream for many years. I auditioned for this role four years ago and on the same day as Roseanne, and it happened during rehearsals. Parsifal, here in Toulouse! Compared to rosin, it’s Everest. For me, it’s a step up in difficulty because, vocally and theatrically, the role is more complete. We go from ultra-rapid vocalizations to this syllabato For great lyricism (in the sextet of Act II). Another big difficulty is being able to take it smoothly without “under-singing” because of the big final finish. It is quite a catchy tune and a great challenge for the voice. You have to save money, save battery power for the future while enjoying these important moments on stage.
For this “Nakki Ol’ Fanno”, which has been recorded thousands of times, did you get inspired?
It wouldn’t be very honest to say: “I don’t hear anything and I’m giving you my version!” “Of course, we want to contribute, but there is also a tradition that should not be ignored.
So, Bartoli, Garanca, Berganza?
It’s funny, because I was fed Bartoli and yet I had to free myself from it, because we don’t have the same voices. Sometimes I say to myself: “There I just picked up a Bartoli tick! », simply because I have heard it all my life. I listened to Garanka a lot, he brought me a lot. But Garanca is still defiant: a voice so big and so beautiful, to be able to make it sound like he does, is quite incredible.
Have you found your way between all these models?
Let me tell you that I have full confidence in what I have to offer in this role. On the other hand, I hope to sing a lot more and my interpretation will evolve over the years. There are many limitations in this production (Barbe and Doucet) and perhaps with more freedom I could say more. But my voice sounds particularly good in this role; It has actually increased in sweetness and bass since I became a mother.
You are at a point in your career where you can start looking behind you while projecting yourself towards a new perspective. Earlier we were talking about the third flower girl. You could not be tempted by Airda?
Maybe in ten years!? It will be wonderful one day; Currently I don’t have any
Spinto in voice that it has what it takes to cope with a Wagnerian orchestra. I really like listening to Wagner, but I tell myself that I’m not part of that world right now. Living in a Wagnerian universe, I find it psychologically difficult; I’ve always said to myself when listening to Wagner’s music, and that’s why I listen to him so lightly, it’s as if he’s manipulating us through music and dramaturgy. Meanwhile
ParsifalI dreamed of him at night, I need to get out of it.
Ideally, what roles would Adele Charvet play in ten years?
In ten years I hope to touch Charlotte many times, Carmen many times, Octavian, it’s a big dream for me. German is a language I am very familiar with. Before that, there are many things that are clear from my voice that I haven’t sung yet. I think of both Dorabella, Sesto
Giulio Cesare and in
Clemenza. I will be singing my first Cherub at Glyndebourne next year. All these Mozart roles that are perfect for my voice and that I haven’t done yet. There are also many Handelian roles that fit my voice like a tailor-made dress, if I may say so, and that I haven’t sung yet, even though I’m going to do my first one next year.
Ariodante. I would also like to sing more Cavalli, Monteverdi. In a completely different register, I had the opportunity to sing Mélisande a few years ago, I dream of singing this miraculous score again all my life!
Lesson or stage?
It’s not really the same job. I always need one to feed the other. I feel more and more at home on the opera stage, but for a long time my home was the intimacy of the recital and the possibility of looking into people’s eyes and “picking” them; This is where I get the biggest rejection. Unfortunately there is a certain reluctance to program the melody and song, which is a shame. In fact, I remain faithful to my early training: I started in music in choir; I also need this chamber format.
Staging. Have you ever found yourself struggling, even just philosophically, with a product? Or vice versa living in symbiosis with a director or chef.
Yes definitely; But the problem is the balance of power. We don’t always have the space to say and communicate what we want. Every young singer lives in an uncertain world and doesn’t always feel entitled to say things. Ancient debate
Vs. Modern is the wrong question and is tantamount to introducing an enlightened debate
Vs. Non-wake in Opera and there is no reason for that to happen. There are old productions that are boring and modern productions that are fantastic. The question is about respect. I felt like I could question choices and talk about them.
For example Laurent Pelly, although I have never worked with him yet, he inspires me a lot: he is a genius of gags! In addition, the
request Mozart’s music and poetry by Castellucci in Aix-en Provence was also a great moment for me.
Among the conductors, I really admire Raphael Piccon and his Pygmalion ensemble with whom I toured. It has the ability to unite a group towards a very specific and strong ideal. Moreover, he is someone who is always kind. On the other hand, I worked with one of the most tyrannical bosses ever. You have to be very armed, because even if you know the value of your own work, someone yelling at you affects you! Today I will be better equipped to defend myself. Fortunately such people are fewer and fewer. And above all it is absolutely not necessary. It is very easy to reign in love.
Lied project?
I would like to sing more lieder with the orchestra: I would like to get closer to
Ruckert, which I have already done on the piano. The
Kintertotten songs,
Summer nights I am very interested, I have already sung them once as well as “Pomme de l’amour et de la mer” by Chausson. But it is “En Die Musik” by Franz Schubert that I often play as an encore and which is undoubtedly my favorite song.