In un mondo in cui appare inevitabile che il giornalismo assuma i toni della piaggeria cortigiana (salvo poi pugnalare alle spalle), Il Corriere della Grisi dedica spazio quei giovani cantanti che riescono a colpirci con il loro canto, e non grazie al frastuono delle case discografiche o al cicaleccio da retropalco. A noi piacciono i cantanti che hanno cognizione di quello che è il canto professionale e possiedono i mezzi per praticarlo. E se sono sconosciuti, tanto meglio! Apriamo dunque questa rubrica (che sarà, temiamo, non molto frequente) con un’intervista a un giovane tenore americano che abbiamo visto su Youtube in un’interessante interpretazione dell’aria di Rodrigo dall’Otello e che abbiamo avuto occasione di ascoltare dal vivo in un paio di repliche dell’Italiana in Algeri. Anche un noto programma radiofonico si è occupato di lui, nel corso di una trasmissione dedicata agli allievi più promettenti di Renata Scotto. Abbiamo incontrato Michele Angelini a Roma, dove ha partecipato (il giorno dopo la prima del Tell) al concerto finale di Opera Studio 2007, il seminario realizzato dall’Accademia di Santa Cecilia (in collaborazione con la Fondazione Boris Christoff) e diretto dalla Scotto.
Lasciamo le risposte in inglese per preservarne la freschezza. Angelini ci parla della sua formazione come strumentista, l’approccio alla lirica sotto il segno di June Anderson, le personalità musicali che l’hanno influenzato, i colleghi e le opere che preferisce. Ci riferisce inoltre i prossimi impegni, i “sogni proibiti” e descrive il modo in cui si relaziona al palcoscenico e al pubblico. Buona lettura.
Il Corriere della Grisi: Come è nata l’idea di studiare canto?
Michele Angelini: I have been a musician most of my life. My father exposed me to classical music – Mozart, Beethoven, Chopin, Bach – when I was very young and so it always stayed with me. I began teaching myself the piano when I was very young and then began to study the saxophone at age 9. I advanced very quickly with the saxophone and also studied jazz, but I was disappointed that it wasn’t a ‘classical’ instrument and so eventually studied the bassoon, flute, clarinet and various other instruments and also always sang in choirs. Finally, one day, after listening to recordings of June Anderson sing The Queen of the Night and Cunegonde, I became interested in opera. I began to study voice privately at University and now hold degrees in Bassoon and Vocal Performance. After making my stage debut in NYC as Fenton in Verdi’s Falstaff at the age of 19, it became evident that my professional path would be to sing opera.
CdG: Quali sono stati i suoi maestri, ovvero dove e con chi ha studiato?
MA: I studied the bassoon with Professor Christopher Weait and voice with Dr. Robin Rice, both at The Ohio State University. Currently, I study in NYC with Ruth Golden, and, when our schedules permit, with Renata Scotto.
CdG: Oltre ai maestri ci sono stati dei modelli di canto e di cantanti?
MA: I have been extremely fortunate to have worked with some amazing musicians throughout my musical development. Sadly, both passed, two of the most influential persons I have known are Bliss Johnston Virago – a brilliant woman who was a protegé of Max Rudolf and Richard Bonynge and a primary coach of Pavarotti and Sutherland; and Charlie Riecker, who was the Artistic Administrator of the Metropolitan Opera for over 40 years. I have also worked with great artists like Martina Arroyo, Jane Marsh, Mark Rucker, Eduardo Villa, and Rockwell Blake. I have also been fortunate, as a bassoonist, to have played under outstanding conductors such as Lukas Foss, Kurt Masur, Charles Dutoit, Benjamin Zander and Russell Stanger, who have all been important inspirations to me.
CdG: Ascolta per studio altri cantanti?
MA: I listen to so many singers, but for study I listen to voices like Gedda, Kraus, Bergonzi, Pavarotti, Blake, Araiza, Caruso, Vanzo, Devia, Scotto, Gruberova, Leontyne Price.
CdG: Ascolta per divertimento l’opera?
MA: I think it’s all the same for me, to listen to opera for both enjoyment and for study. I think it’s important that, when you listen, you listen for pleasure and also listen with the intent to learn – either how to correctly do something, or how not to do it. Some of my favorite singers (my list is huge!) to listen to are Deutekom, Dimitrova, Resnik, Arroyo, Obraztsova, Caballé, Del Monaco, Sutherland, Bartoli, Gencer, Steber, Te Kanawa, Freni, Borodina, Frittoli, Nilsson, Traubel, Dessay, and of course Callas!
CdG: L’opera preferita ad oggi cantata o in programma?
MA: I love all the roles I perform, but perhaps my most favorite is Roderigo in Rossini’s Otello. The music is written so masterfully and so beautifully that there is ample opportunity to show true bel canto style and bravura. I also would love to find a production of “La Dame Blanche” to sing – it is a magnificent score!
CdG: I prossimi impegni?
MA: A “Judas Maccabeus” with James Conlon in L.A. and “La cenerentola” with both Connecticut Opera and Austin Lyric Opera. The rest I cannot disclose yet!
CdG: Ha un’opera sogno, diciamo proibito (potrebbe anche essere irrealizzabile tipo Parsifal)?
MA: Does Lady Macbeth or Zerbinetta count? I am always envious of the music written for sopranos! I am waiting to find a composer who will write grande scene for me in that style! As far as the tenor literature is concerned, it was always my dream to sing Lohengrin or Siegfried.
CdG: Il pubblico fa ancora paura ad un cantante che affronta il palcoscenico?
MA: This is a difficult question. I find that I am much more nervous for auditions than for concerts and stageworks! I believe one has to learn to be comfortable in front of an audience because the audience can also feel your fear, but it is also important never to lose the excitement of being in front of a public because you must use that (nervous) energy to help make your performance interesting. That is how you can communicate with those who are listening and watching – this exchange of energy with the public and with your colleagues on stage.
Un grazie a Michele Angelini. Sul suo sito www.myspace.com/micheleangelini trovate alcuni ascolti, principalmente rossiniani.
Michele Angelini – Il Barbiere di Siviglia: Ah il più lieto, il più felice
INTERVISTA A CURA DI GIULIA GRISI
INTRODUZIONE E REDAZIONE: ANTONIO TAMBURINI
