Carlo Colombara

The Astra Theatre has seen a good number of all-time greats such as Nicola Rossi-Lemeni, Aldo Protti, Ghena Dimitrova and Giuseppe Giacomini, just to name a few, gracing the boards.

Now, celebrated bass Carlo Colombara will be interpreting the pivotal role of Zaccaria in Verdi’s Nabucco. Here, Colombara expresses his views on the fascinating world of opera.

How did you first become interested in classical music and what made you choose a career as a professional singer?

My passion for opera was triggered by Carmen. I was nine years old at the time and it was love at first sight. I was with my family at the Teatro Comunale in Bologna, which is my home town.

Your repertoire is very varied, ranging from Baroque to 20th- century opera. Are there any composers whose works you particularly enjoy interpreting? And with which roles do you feel a particular affinity?

I have a particular fondness for Verdi, who composed extensively for the bass. In a way, he is my best employer. As regards the roles, I prefer to interpret characters that really existed, such as Henry VIII, Philip II and Boris. Gounod and Boito’s Mefistofele also have a special appeal.

How do you approach and prepare for your opera performances, particularly when you are singing new roles?

In preparing for a new role, much depends upon its com-plexity. I will be singing Boris Gudonov for the first time in 2016. It is a demanding role which I am going into with meticulous attention to detail coupled with my customary passion.

The list of conductors you have worked with includes some top operatic conductors. Some of them are also known to have difficult characters. How can you describe your relationship with them?

I must confess that with the truly great directors I have never had any problems.

Your international career has taken you to many countries in far-flung areas of the world. Where did you meet the warmest audiences?

I would say that having sung in the major theatres worldwide, the Tokyo one stands out in my mind for the particular warmth of enthusiasm. The Zurich Theatre, in which I have sung for 17 consecutive years, also has a special place in my heart.

Are there any performances in your career which you consider particularly memorable?

The opening night at La Scala in 1997, during which Verdi’s Macbeth was performed and relayed worldwide. My studio recordings also are a great pleasure. Another event which I treasure was the performance of Puccini’s Turandot under the direction of Zubin Mehta in Beijing.

Nabucco was Verdi’s defining moment. Some consider it to be a vestige of the Metastasian heroic opera, while others place it in the Romantic period. What is your opinion?

Nabucco places Verdi on the world stage. It was really an innovation. The absolutely fabulous chorus at the opening of the opera is a case in point. In my opinion, Nabucco is neither a heroic nor a romantic opera but stands out in its particular historical context.

Verdi is my best employer

In the past decades we have become used to unusual productions of mainstream operas, in which stage directors attempt to startle audiences by incorporating shocking or controversial elements in the mise-en-scene. What are your feelings about this?

The reaction of the public is a mixed one. Some laud the attempt, others denigrate it.

You have many recordings to your credit. Do you enjoy performing in the studio?

When recording, the emphasis is mostly on the quality of the sound. However, nothing beats the immediacy, emotion and thrill of live performances.

Do you feel that younger generations are showing a renewed interest in opera?

I believe that in countries where education for the opera starts at a very young age, then young people feel a natural affinity to it. Otherwise, it is more a question of chance.

The voice is a notoriously fragile instrument. Does this affect your lifestyle?

I do not think the voice is so much a fragile instrument after all. It could be described as such if a sound technique is lacking and as a result the voice is badly used. Both the singer and the voice end up badly bruised. It is only natural that particular care be taken in our profession to avoid unpleasant consequences.

Do you enjoy listening to music privately or do you take a break from it away from the theatre or concert hall?

I manage to get a break away from it all when on a short holiday. As for the rest, music is my life.

You are at the peak of your singing career. Do you have any music ambitions for the future?

My ambition is to go on singing well and maintain my current level of excellence for another 30 years at least.

Nabucco runs at Teatru Astra, Victoria, as part of the Festival Mediterranea on October 23 and 25. Tickets are available by calling on 2155 0985, 7925 6897 or by sending an e-mail to bookings@mediterranea.com.

http://www.mediterranea.com.mt