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Gracias a nuestro corresponsal suizo por enviarnos información, y a Smorgy por la traducción."In summer 1992 I substituted as Rossini’s Tancredi for Marilyn Horne at the Salzburg Festival. When I returned to Salzburg a year later I saw big posters of my record label with my picture on it on windows there. That scared me because I didn’t feel that the image match well with me. Some promotional experts think they know what image to project his artist as in order to best sell her. I, however, don’t know any great artist who wants to be a copy of someone else. You cannot turn another singer into a Jessye Norman or an Anna Netrebko.
In my opinion the most important thing in an artist is her individuality. Fans love a singer not only for her voice but for her whole personality. My motto is: be authentic. I have seen overtime, however, some artists and also directors will behave differently in public, as if playing or projecting an image/role, but who are completely different in private. I can’t do that. Though it is sometimes difficult to remain true to oneself.
Diplomacy is often necessary to achieve what you want. It takes knowledge of human nature to sense what I must do for the director or the conductor to be pleased with me without at the same time upsetting myself. I usually, but not always, succeed. I will, in interviews, say what I honestly think and not tell tales that don’t reflect me. I can live out my fantasies better on the stage. I have nothing against media appearances and receptions. That’s a part of the job and a certain amount of promotion is important. But when a television crew asked me to cook, write travel postcards, and drink Schnaps with my parents at home while filming in Bulgaria - none of which I actually do - I went on strike.
Had I been given everything I wanted, I wouldn’t have been able to develop as an artist. Maybe a few thousand more people would know my name, but what is important to me is for the audience to know me as I am. In every career there comes a point when you must decide what you want to accomplish as an artist - do what others want you to do, or find acceptance as a serious artist and practice for the long run? Some artists who don’t find the great success they expected think that they only need more promotion. In my experience one can make a career without having to stoop to do things against one’s wishes. I love my job, but I would never prize it above my dignity."
Ya falta menos para el Idomeneo, si alguien va a ir y quiere contarnos, ya sabe dónde estamos ;)
4 comentarios:
Hola Inma,
Awesome find, matie. :oD Gotta love VK's spunk. She is made of strong stuff! I'd roughly translate the essay as:
"In summer 1992 I substituted as Rossini’s Tancredi for Marilyn Horne at the Salzburg Festival. When I returned to Salzburg a year later I saw big posters of my record label with my picture on it on windows there. That scared me because I didn’t feel that the image match well with me. Some promotional experts think they know what image to project his artist as in order to best sell her. I, however, don’t know any great artist who wants to be a copy of someone else. You cannot turn another singer into a Jessye Norman or an Anna Netrebko.
In my opinion the most important thing in an artist is her individuality. Fans love a singer not only for her voice but for her whole personality. My motto is: be authentic. I have seen overtime, however, some artists and also directors will behave differently in public, as if playing or projecting an image/role, but who are completely different in private. I can’t do that. Though it is sometimes difficult to remain true to oneself.
Diplomacy is often necessary to achieve what you want. It takes knowledge of human nature to sense what I must do for the director or the conductor to be pleased with me without at the same time upsetting myself. I usually, but not always, succeed. I will, in interviews, say what I honestly think and not tell tales that don’t reflect me. I can live out my fantasies better on the stage. I have nothing against media appearances and receptions. That’s a part of the job and a certain amount of promotion is important. But when a television crew asked me to cook, write travel postcards, and drink Schnaps with my parents at home while filming in Bulgaria - none of which I actually do - I went on strike.
Had I been given everything I wanted, I wouldn’t have been able to develop as an artist. Maybe a few thousand more people would know my name, but what is important to me is for the audience to know me as I am. In every career there comes a point when you must decide what you want to accomplish as an artist - do what others want you to do, or find acceptance as a serious artist and practice for the long run? Some artists who don’t find the great success they expected think that they only need more promotion. In my experience one can make a career without having to stoop to do things against one’s wishes. I love my job, but I would never prize it above my dignity."
Oh, thanks a lot, Smorgy ;)
El tercer domingo de adviento de 2005 tuve la ocasión de ver y escuchar a la "wunderbare" -maravillosa- Kasarova en la Filarmónica de Colonia, interpretando a Vivaldi y como regalo Haydn.
La progresión que realizó durante el concierto fue tal que dejó a todo el mundo boquiabierto. Se adueñó de la sala, casi llena,de tal modo, que gente que no nos conocíamos de nada entablábamos, a la salida, conversación como si quisiéramos confirmarnos que no era ilusión de uno, si no que era realidad el prodigio que habíamos presenciado.
Tal fue la impresión, que compré allí mismo un cd y me puse a la cola para que me lo firmara. Cuando me llegó el turno, me preguntó que de donde era, español le respondí, me habló de una representación suya en el Liceo y cuando me dió las gracias, me salió espontáneamente:"no, no, gracias a Vd. que con su arte contribuye a hacer más soportable la vida". Me cogió la mano y me sonrió como diciendo que no era para tanto. ¡Y vaya si lo era!
Espero poderla ver de nuevo este año, si Dios quiere, en junio.
Gracias por su blog, cuyo enlace he visto en la pag. de esta magnífica artista.
Saludos. Patri
Gracias a usted, Patri, me ha gustado mucho leerle. Yo sólo la he saludado dos veces, en Madrid, le deseé suerte con la Carmen (la debutaba en unas semanas) y ella me cogió de la mano, me miró y me dió las gracias, como nerviosa. Fue un bonito momento, gracias por hacérmelo recordar ahora.
Un abrazo,
Inma
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