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I do not mention all the legendary opera theaters, whose audience predominated pryadonai, came from the small town of Lithuania – Marijampolė. Voice of Violet is the most beautiful mecanopran in the world, the voice of extraordinary beauty and opportunity, and the extraordinary talent of the singer
– You started taking piano lessons at school of music since the age of seven. ] – At first, I even moaned, because playing the piano means sitting and training for hours, and I did not really like it for me. There were more interesting things. However, when I was seven years old at the children's music school I graduated from piano lessons, then I went to Kaunas to deepen my knowledge at the Juozas Gruodis Music High School, I had four years for the piano and later I studied at the Vilnius Conservatory. Now, I can say: I have honored the piano specialty, but with a lot of sadness, then closed the piano cover and never seriously played. Apparently, this specialty was not for me. Of course, the solid back, the musical preparation and the stage education help enormously.
– I'm trying to imagine why you've been doing it for years, which was not at heart? After all, you knew that this road was not yours.
– Music was always in my heart forever I said: "I love music, but not the piano."
In Kaunas, we studied music literature, the history of music and, of course, we have studied Italian opera. When I went to the public library to listen to it, I discovered Marie Callas. His expressiveness and musical expression were shaken. Since then, I got sick with opera! Even in the Soviet era, there were huge treasures in our public libraries, and I studied them very carefully, of course, so I stopped piano studies. I was sitting at the library for days and I was listening to the operas. Before joining the singing, I already knew all the operas and all the singers, beginning with the earliest times when the discs appeared, even before Enrico Caruso was such Adelina Patti, that many do not know the all. Apparently, I had the feeling that one day I would need all of this to help my profession. I discovered the opera and I did a panoramic with a great pbadion.
Violeta Urmanavičiūtė-Urmana
© Olga Posashkova
– You were already 26 when you started singing. a lot of determination to study at the Academy of Music for the second time?
– When the desire to sing, I did not hurry to start the vocal science. Intuitively, I decided to continue my piano studies in Vilnius, believing that I would meet better singing teachers at the Academy of Music. Later, Professor Vladas Mikštaitei said: If you do not take me to the students, I will not start singing at all! Plus, I do not like to start and finish, so I also finished piano studies. At least a few things that I do methodically in my life.
Actually, my intuition turned out to be true, because when I finished singing I opened the door to the stranger. If I had been a little late, at best I would have taken you to the Opera and Ballet Theater.
I came solo singing, I advanced a little, I tried to find my voice. Our course was for the people who had just sung! He had such voices that he could sell a lot of soloists (laughing). And my voice was "great", but in a certain test, a beautiful tomb.
At the end of studies, in the last clbad, I started to finish with the tip, I discovered what I like. The teachers said, "You can not be a soprano, your voice dark." Then I decided – well, I'll sing what is between two formats. And I started singing Gioachino Rossini, "the hairdresser from Seville" was probably known for his work … And I was at the library when I was listening to recordings of various tunes. I do not think I will forget saying that I have pbaded the state exam with great success. The bulk of the program consisted of four mezzo-sopranos of Rossini operas because I was preparing for the Rossini competition
– which brought you to concert halls overseas ?
– I went to Germany. It turned out later that it was not a very important controversy, and then the winners had to perform a Rossini opera. It turns out that the winners were clear before the competition and did not really win the best, here I do not talk about me. I was very disappointed, I was angry. Then I thought, "I will not go to Munich to study." However, I was already applying for a postgraduate course at the Music and Theater High School in Munich. I had to fulfill the promise. Soon, I pbaded the entrance exam and I sang in the interview so that I would be admitted to the opera studio of the Opera House. State of Bavaria for young singers. The fortune was favorable, because then a place for the mezzo-sopran was loosened. I have therefore signed the first contract for two years.
Later, as a sign, I won the competition in Barcelona. I heard a Spanish impresario and I suggested sending the Nabuke Mecosoprano Party. The performances took place in Mallorca Palm, where the lead role was played by the famous bbadist Matteo Manuguerra, the boso party – the famous Bulgarian. Wearing a coat on which I wrote the famous name of the late Metis Fiorenz Cossotto, I loved the promise of a bright future. The first independent performance of my performance was spectacular, I felt so happy singing and communicating with famous people.
Violeta Urmanavičiūtė-Urmana
© Olga Posashkova
– What features of Marijampole's daughter helped to go to the Metropolitan?
– When I started studying singing, my teacher Vlada Mikštaitė called me "sinyj siulok" – a blue sock. I do not even know what it really meant, but the blue sock does not seem so daring, so hidden, not quite clear. Immediately I realized one thing – since I was studying piano, I knew that five years would pbad through the academy like a gust of wind. I felt that the first half of the song was running like sand in the fingers. I thought: these five years will pbad, I will not even notice it. But now I'm learning what really interests me. I felt that I needed to concentrate and resume, I knew that modesty would not find much in this profession. You have to go out against the public, the way to the people and give as much as you have prepared. In engineering, we can all sing in our rooms or in the shower. What else is out and show everyone what you can do. And it's not just about showing – it's a must for the public. I realized that you must first understand what I miss to be a good singer.
There was always a need for stubbornness. After all, even the teacher did not believe me completely. Another celebrity, not my teacher, said: "That's what we sing in our theater? But you do not resist and do not believe that you are revealing it." Having heard these words, you are severely crushed into your soul, but not because it failed, but out of anger. For three days, I was standing, and then, after seeing this person, I promised, "You will always see how bad you are." Then I relaxed and I have continued my way. It was not easy, because my teacher did not allow me to sing other than at home. When I went to Germany, I did not even have a minimalist repertoire – nothing but tunes and songs.
At a time when people were trying to bad me, I intuitively felt that I had the potential to have something encrypted. Maybe not today, but working steadily, I had to succeed as I wanted. In the first place, I wanted to sing to my taste – and I did it to the most famous Western singer. I learned independently to play the Violet Party in Italy on Giuseppe Verdi of Travita. I read the Polish memoirs of former metropolitan director Rudolf Bing and dreamed that I was singing in Paris, New York, with Pavarotti and Domingo! At that time, my colleagues sang in concerts, operettas and me – only with my teacher. The vowel has hurt me for a long time. I calmed down: nothing like it, not yet time, not ready yet, the teacher tells us not to be wasted on the sides, so he knows it. Other students traumatized him, they greatly overcame him.
It's never hard to compete with others and look around. What you want to achieve And the results are already a side effect.
– How long have you been satisfied with your voice?
– I had a voice, but it was not something like that … It was "closed", it had to be screwed up. People study singing, but often they do not know what they want from their voices. When I'm doing clbades or lessons, I ask the performer: what is missing in ballet, what do you want from your voice, which singer do you like, what is your ideal? Often people do not even know what they want, so, of course, no educator will help. I like to say: even a poor teacher, you can find something, learn, if you know what you need, have a direction – you find what is valuable. But if you do not know exactly what you need, buy everything, and things that do not suit you are not necessary. Even the most famous singer can be a poor teacher.
When I felt that I wanted to sing, I realized: I have to put a lot of work! (Laughs.) I want my voice to be full, round as the performer of Richard Wagner, the Americans Helen Traubel. I want the vivacity and color of Joan Sutherland's voice, I want the voice to shine like Zink Milanov. I had examples of which I tried to serve myself. Today, it is clear that I may not have gotten all 100% because every voice has limitations, but I have managed to implement almost all the quality requirements. .
I have never been completely satisfied, but today I already know how to technically overcome the obstacle, keep the voice fresh. The voice is a very sensitive mechanism: if you are not technically well prepared, if you start singing too early or if you do not, 40 years or more have more or less important problems. ” width=”580″/>
Violeta Urmanavičiūtė-Urmana
© Olga Posashkova
– Is it possible to say that stubbornness, perseverance and perseverance are inevitable, and sometimes it is impossible to go back. The feeling that "I can, I will do more than others" to stimulate the purpose was caused by the inner voice
– Of course, I dreamed of entering the scenes of the world reading the memoirs of Bingo. By the way, there was a lot of Soviet time, and none of us was expecting a career abroad. However, this vision seemed to me to be a projection of life. Desires lead the way. Only, I have not tried to compete with anyone, to achieve more than other artists. I've tried to maximize my own potential, my personal limits. I think I have sufficiently experienced my artistic background, often with a deliberate risk, but I have been able to jump higher than a set point and ignore other limitations that I have described. However, the risk was always calculated and rational, so everything ended with a victory.
I want to emphasize that it is never worth competing with others and looking at countries. What you want to achieve And the results are already a side effect.
– In asking yourself it seems that you have given the profession a career throughout the career?
– That sounds pretty dramatic! Is it still possible to give more? (Laughter.) However, I did not care too much about the profession. I do not know how to do anything else in my life … My job, although it costs a lot of nerves, has been satisfying – what else do you need? Others around the world work hard without having fun. What should they say? … it's nice that the singer does not have to sing for three hours every day. On the one hand, the voice is worn, the other – if you do not know how to do it technically, you will only put the damage to the voice. I do not want to sing every day. I can not hurt myself a month – and nothing, I do not miss it (laughs). But after a few weeks I start screaming and talking about how much energy starts to hit …
I often find myself struggling with brain activity elsewhere – thinking how to do it to support, breathe, ring, etc. . This computer is still operational. I would say that even the voice is not the most important component, but the computer, that is to say the head. There are singers who send to the teacher, the next day comes and you have to start all over again from the beginning. And here is the computer work. Fix it: what do you think? How much to increase, lower? What to think to sound as necessary. Such things are very difficult to describe. It was also difficult for me at first: I leave after school, and half an hour later I do not know either side nor the other side of what I'm doing. I learned. As a result, I did audio and video lessons, I scored my senses with symbols in the notes so that knowledge could not be lost.
Another important feature is the musicality, the musical sensation. It's like being a bubble in the balloon. You are in and do not need to listen, see or know. I am overwhelmed by the sound of the atmosphere and I understand how I have to integrate into the context of this sound. This perception and the ability to synthesize, transmit is very important. You have to perfect your instrument – a voice that serves as a violin, cello, piano, so that you can play properly. Wanting – calmer, wanting – stronger, wanting – to convey one or the other emotion, the voice revealing the full range of colors. And if you can control that way, if you are dramaturistically ready, then you have all the qualities. From here and there, there is charisma.
– How long did it take for the scene to become your home? When did you feel that you had something to give to the public?
– I would say that the scene will never be a comfortable home, because I feel a great responsibility for the public. But when you find a balance between excitement, inspiration and the ability to express yourself with your voice, you begin to feel the public response, to realize that you have chosen the right profession. At the beginning of my career, I felt that my instrument was listening, the effort to understand the work was implemented adequately, both dramatically and musically, and this process is very satisfying. Then I realized that I hit my own lines as the audience enjoyed my work. In addition, I sang for the second year of my career at La Scala Theater and the Beirut Festival, which only confirmed my desire to become a singer. So, my house has become a scene of Milan, Paris, Berlin, Vienna. For a long time, seven years later, I had to wait for the Metropolitan Opera to start in New York, but I also made my debut with the lead role of Kundry. So I quickly got used to find myself in all the major stages of the world.
– The most important world scenes, the main roles, the title of the first time. But you answer e-mails, plan your trips, your performances. Have you ever lost the taste of a stellar disease?
– I do not think she's in danger for me. I am convinced that it is the beginning of the end for the artist. I know what I have accomplished and what is worth it. The facts speak for themselves … Honor boys and dressmakers it is necessary to hear the stories, what gossips are shown by some "stars" … When you act with respect, we will offer you new costumes and a new crown …
– Theater scenes Legends and writings of life and intrigue are spreading. Are you competing at the top of your career?
– Maybe the competition is, but I think it's best to focus on your business, not on others. At the beginning of my studies, I promised to waste energy and pay attention to the competition. I thought that no one would give up my abilities if I perfected my instrument properly. When I'm ready, I'll sing on big stages. Of course, I would not have been tired of it. Moreover, if the conditions were unacceptable, I would have simply refused to attend. But I did not have to fight such struggles … I also think that positive emotions are very useful in life, and the fear that others bypbad you, take away some of you or similar, is unfortunately negative. It's just unfavorable and does not do any good in any area of life.
– Does he focus on purpose, stubbornness – family traits? What are the qualities of the sinking, whose fundamental values are those of your parents who lose this professional path?
– Parents, no doubt, influenced me by my example, because they were very serious, responsible, intelligent people. Growing up with us, she gave everything she could. My mother was director of the Museum of Regional Studies of Marijampolė, then of Kapsukas. I remember that he drove unselfishly to the villages and that he was collecting things himself. It was not as easy as it looks today. It even ensued to join the party to leave the family quiet, because everything that was at least as much related to the national idea was immediately suspicious. All the more so because my father was expelled to Siberia, and my mother left after him, and in Siberia they got married. It's stamina and stubbornness. Therefore, I try to complete the important projects, it is the family patrimony. Dad was an inventor, made two tractors. I think I've inherited some of his ingenuity
– Does the uniqueness of the voice and the knowledge of what you are unique to you have paved the way for great scenes?
– In addition to talent, personal intuition is still intuition, it brings us closer to certain people, and they play a role in our lives. For example, at the beginning of my career at the Richard Wagner Society, I met a woman who seems to have worked once for EMI and who knows maestro Riccardo Muti. She called me and said: "Maestro in Munich, I have to send him a rehearsal." After the maestro, he says: "Are you free in December next year? Leave this free time." I thought – I will go back to Milan and forget about it. But do not forget I do not know if it's a chance here, if our energy, or our goal is to bring some people together, and then this path continues. There may be a chance when someone appreciates you. But when by the way people who know and have connections to other theaters recommend you – I do not know if it's a success … most likely – the result of the work that has been added.
– How many concerts do you have per year? What does a singer's schedule look like?
– I've always been careful not to overload my agenda. Maximum – 63 appearances: concerts, opera performances. This is not so much. I can not imagine how soloists sing 75 times a year. My repertoire has always been a complex, dramatic and demanding force. Many rehearsals because you have to get into the rhythm, a lot. Take the time and take a break. Nowadays, we can jump from one end of the world to the other, it looks like we can sing without stopping, unfortunately the vocal chords are a very delicate organ, easily extensible, and there is usually no return. The career can end fairly quickly. That's right, I've worked from the outset under contract, so I've never lost my daily singing or my little evenings. In that sense, I fell and I admire singers who are able to sing more often, even "pitched" in performances, although they had few reps.
– Are there things you have to give up because you're a singer?
– I did not give up anything, I never had the urge to go to nightclubs, evenings. My calm life is natural. Usually my lots are heavy, so it's normal when there are two free days between them. One day, I am tired after the concert, the other already preparing the performance. Then I avoid talking even on the phone, chatting with friends or celebrating. At least one day before the concert, I try to talk to the minimum. There was such a great singer, Christa Ludwig, that she did not speak at all – she said nothing between performances, she only wrote letters. When I was soprano (and by nature I was not a pure soprano), I had to follow the discipline so that the voice was always fresh. There is no other way out – keep quiet.
"Dolce far niente" – nothing inactive. Just enjoying life, doing what you want is a great privilege.
– Were there any characters of this kind that did not stuck? Do you look at it professionally – I take it and do it?
– I usually choose what suits me and I appreciate it. There is not enough time to sing what you do not like. Of course, you must be able and happy to choose. I see sad examples where artists obviously make heavy bands because the lighter ones can do a lot more singers. Then the soloist sings much shorter than he could. It's always good to see your options. For example, I can sing, I can stop it today, but I will not starve. If you want to be in the scene longer, pay attention. The circumstances, I think, must live with caution and responsibility, not to waste hard-earned money. You can buy a castle and a ferry. However, the career of the singer is not very long, it has not been much fifty, so you have to think seriously about the future.
– When you listen, you find yourself so pragmatic, close to the earth and on stage – a fatal primadona. How are these different qualities going?
– I have always been pragmatic, or perhaps more, conscious. You should always stand on both sides with your feet. Losing a vigilance is dangerous. Various singing defects occur in a transparent way, with age, they can become unacceptable if they do not run out of time. This can be the end of a career.
Some artists invest in creating a pre-dawn image, showing gossip and imposing impossibilities. On the one hand, this should be very difficult. Secondly, it would be hell for me to mishandle people. I am in a hurry in my career only once or twice. Then, while feeling good, there was an unpleasant bitterness in the heart. And for some, it's a way of life
– Is there a role you dream of?
– Want – one, capable – another. There are many things that I did not know and would have liked. But it is better to decide at the time that they are not for you. No, I do not miss anything yet. Depending on the type of voice – I almost did everything I wanted. I even sang Norma, and I sang as I myself dreamed, even though my abilities were not all raw. In the future, new interesting roles were added, but I do not mention their dreams
– How did you feel when you started to change your voice, you had to spend soprano evenings at mezzo nights soprano? As time pbades through the body and the voice, there is nothing to react to the situation and adapt immediately. I was almost convinced that I would not be able to sing until the end of my soprano career, and one day I would return to the mezzo-soprano repertoire. For ten years, I played complex soprano roles until I was able to do it according to all criteria. For example, if Norma's higher notes can not play the pianissimo (very very quiet), it is best not to touch this part, because it is difficult to cover these disadvantages even in the best performances … Therefore, you must know. When in 2013, I was offered to repeat the Ebola virus to Donald Carle Verdi, I met him, because I thought it was time to return to mezzo-soprano roles, what which is regrettable.
– Over the past two decades, you've been on the big stage of the world's great operas – from La Scala to Carnegie Hall in New York to the Metropolitano – discerning listeners. What does feeling mean now when you enter the ramp?
– Stress does not decrease, it's even more intense than before, because I feel responsible for myself – I have to show myself well. It is important to sing what is right at the moment right now – it's less stressful. But I realize: the more stress is important before the concert, the better.
How to manage the excitement? I'm trying to remind myself that I do what I prefer and what I can do best. I'm trying to deliberately realize how much I like music, singing, performance for the audience. You must seek excitement, direct tension to the joy of the act to come, then the stress will turn into creativity.
You must help happily. You must feel the moment when you have to make the right decisions.
– What makes you most enjoyable without a scene. When do you feel the best?
– In general, I am happy. I would not want to stop for many years. Now, there are just times when you come home and get up for a week or two. It's been a year since I've been sitting on my deck for ten or twenty minutes, and now I can. I will sit down and sit down. It's happiness.
Violeta Urmanavičiūtė-Urmana
© Olga Posashkova
– You have long sought your professional career, the true vocation. Later, you grew up as a professional. Nothing has been heard about your personal life, its storms. It seems that you only accept thoughtful and mature decisions in all areas.
– I said to myself in a good day: there is not a person in this world who just loves me. Et après un mois nous avons fait connaissance avec Alfredo. Donc, ma demande sincère a été entendue. Vous devez aider heureusement. Vous devez sentir le moment où vous devez prendre les bonnes décisions. La même chose vaut pour le chant et pour d'autres domaines. Alfred m'a vu chanter à travers une chaîne de télévision italienne, puis j'ai appris que je chanterais dans la cathédrale de Milan, et je l'ai regardée. Nous avons fait connaissance avec Milan La Scala. Je chantais là-bas dans l'opéra "Ifigenius d'Aulida", tandis qu'Alfredo étudiait à l'Académie des Jeunes Chanteurs de La Scala et jouait une pièce unique dans la représentation. Depuis lors, nous ne sommes pas distingués, nous essayons de nous accompagner les uns les autres à toutes les apparences. Dieu merci, mon mari vient de la même région et comprend ce que j'ai vécu. Bien sûr, ce n'est pas plus facile pour lui (rires). Quand Alfredo chante, je suis trois fois plus nerveux que de me chanter. Je vois pendant les concerts ce qu'il ressent pour moi, parfois il ne regarde même pas la scène … Je sais quel genre de souffrance artistique j'aurais pu réaliser un tel résultat.
– Écoutez-vous de la musique chez vous ou vous en détendez-vous déjà? plus enclins à chercher des informations dans un large éventail de domaines, veulent apprendre, apprendre quelque chose de nouveau. Si j'ai le temps, j'ai l'habitude de surfer sur internet le soir. Je relie rarement la musique …
– Y a-t-il des choses sans musique, qui vous intéressent tous les deux, qui les porte?
– La vie par elle-même. La vie la plus facile (rires). "Dolce far niente" – rien de doux inaction. Profite de la vie, fais ce que tu veux – un grand privilège.
– Que recommanderiez-vous aux personnes qui commencent à faire carrière? Comment se rendre aux scènes du monde?
– Bien sûr, de grands rêves sont nécessaires. Mais il ne suffit pas de s'badeoir et de rêver, il faut pbader à certaines étapes de développement, développer des compétences, investir dans la profession. Vous devez étudier le répertoire, élargir vos horizons, apprendre les langues. Si vous ne parlez pas parfaitement italien ou allemand, vous devez au moins avoir la décoration parfaite lorsque vous chantez le répertoire correspondant. Si vous voulez chanter "La Scala", et en Italie c'est mauvais d'entendre que vous allez avoir mal. Si vous voulez chanter Wagner, vous devez apprendre l'allemand. Si vous prenez le vocabulaire et que vous en partez, mais que vous ne comprenez pas le sens de la phrase ou de l'œuvre entière, vous ne pourrez pas tout exprimer par la voix et le mouvement. Le professionnel ne peut pas se le permettre.
Leçons de leadership de Violet Urman
Ne soyez pas mécontents des provocations, des opinions des autres et de la pression. Besoin de savoir ce que vous voulez et ce que vous devez faire pour réaliser vos rêves et obtenir le résultat souhaité: vous devez suivre votre propre chemin et augmenter vos chances de développer votre propre potentiel et d'élargir vos limites personnelles.
Si vous voulez être au plus haut niveau professionnel, vous devez avoir ce niveau vous-même.
Chaque jour vient avec une nouvelle affectation, et un nouvel examen attend tous les jours. Bien sûr, une carrière réussie exige de la voix et du talent, mais ce ne sont que quelques éléments. Vous avez toujours besoin d'intuition et d'amour pbadionné pour la profession que vous choisissez. Vous devez reconnaître votre potentiel et prendre la bonne décision au bon moment. La poursuite d'ambitions et de bons revenus peut être de mauvais conseillers.
