Where you found the news about the cancellation of performances, the closing of the theatres?
Elena Stikhin: In Boston after the dress rehearsal of the “norm” of Bellini, we were told that it’s canceled due to the coronavirus. The only thought was how disappointing, pathetic, painful and very unpleasant. Our production was fully ready. I’ve been waiting for this event, preparing for this role. It is always unpleasant, when the something carefully planned.
There are in such cases any guarantees in the contracts?
Elena Stikhin: the Situation of the pandemic is considered to be force majeure, so no one is responsible, just flying the contract, but for artists it is the only way of earning and many have families, mortgages. The situation is extremely difficult. I, for example, was supposed to be “adriana Lecouvreur” by Francesco Cilea in Paris, where the rehearsal was to begin on the first of April, and the premiere is to be held in may. What’s next – wait and see. While in such a volatile situation of uncertainty more than understanding what happens to us.
How did you react to the incident?
Elena Stikhin: do Not know what to prepare next. Just live as he lived, trying to think about some longer-range plans after this period, which, however, it is unknown when it will end. I’m scared to watch TV, although I basically do not watch. Find out news from the Internet, and watch movies online. But in this case everything is so crammed with information about the coronavirus that it is impossible to avoid. Everyone is talking about only one, although other topics of conversation remains quite.
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In this case, mass panic is linked with the question of survival, since viruses are known to heavy.
Elena Stikhin: But you know that according to statistics a hundred out of a hundred born will die.
You are so how would kidding? In this period it is very important to keep a sense of humor.
Elena Stikhin: We never know what awaits us tomorrow. Everything is changing rapidly. You never know what information to trust, so many contradictory, so it is a matter of choice.
forced offline Before your career was developing very rapidly and successfully. Last summer, you have conquered the Salzburg festival in the role of Medea in the homonymous Opera by Cherubini. In December, again took Paris, the Bastille in the role of Yaroslavna in the premiere production of “Prince Igor” by Borodin. What miracle did you manage in such a short time to get fantastic contracts? It is a matter of luck or a good agent?
Elena Stikhin: It all together. Differently and does not happen. Everything must come together: the stars in the sky, you have to be ready, the agent should work well. A moment of Serendipity, a happy coincidence is also not excluded
This, for example, the moment when you urgently had to replace Anna Netrebko as Tatiana at the Paris Opera?
Elena Stikhin: Yes, of course, to this about me in Paris didn’t and then found out. When in such large theatres something like that happens, it greatly affects the outcome of a career. At least everyone is starting to realize that there is such singer Elena Stikhin. And how you can invite somewhere if not even aware of your existence? This factor is very important. It’s very easy, it’s true.
But today, your name has already been heard and start to work for you?
Elena Stikhin: it’s hard for Me to judge. I purely own little pROFILE: I am a training material, it vivarium and preparation for subsequent performance on stage. Everyone else does the universe and the people working next to me. I can’t trace and all to do, because something may suffer, but I wish that creativity was in the first place.
Your voice gives a feeling of incredible freedom, of flight. What made him so: nature, a good school, a good head?
Elena Stikhin: it is difficult to assess from the outside, to be honest. We, the singers, their voices are not heard. It is impossible, unfortunately. Yes, there are recordings, but they do not convey the feelings of the singer in the second when he is on stage in the play, in terms of the acoustics of the hall, when some overtones appear, which, on the contrary, disappear. The voice depends on many factors, including hormonal. Voice – as every second. I thank every teacher I met on the way, each coach worked with. But without personal work is impossible to achieve high results.
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Your Nastasya in “the Enchantress” by Tchaikovsky at the Mariinsky captured his vocal fearlessness. This complicated even from the point of view of endurance of the party looked in your performance with ease.
Elena Stikhin: Party is huge, complicated, requires a lot of strength, emotional and physical. The best compliment that she listens to and easy. But it certainly requires thorough setting up and recovery after the performance. The only thing I’m afraid of heights, so I can’t sit on swaying from side to sideONU the couch under the grate, as required by the directorial concept. So here I am a coward in this matter anyway.
You and “Aida” by Verdi, and Lisa in the Queen of spades Tchaikovsky sing like it’s not worth any effort.
Elena Stikhin: I am grateful to God every day for what I have such a voice. Russian with Italian music it is difficult to compare all different complexity. Lisa is given a difficult, complex part that Tchaikovsky wrote her as Tatiana in “Onegin” – first as a lyric, and then a more dramatic character. It is necessary to combine several different images and vocal and psychological. The scene at the groove very difficult. As well as the third act in “Aida” Nile scene, where the first Aria of the heroine, which is afraid of everything soprano, then a duet with Amonasro, and then butt – duet with the tenor. It’s even difficult simply because very long, requires endurance. I was still only four performances in Geneva. We’ll see what happens. But plans are now meaningless talking. Next time. The most important thing – to protect themselves and their loved ones, and the rest will prividitsya. The main thing – health.
