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Interview before the concert in Bucharest

There were some reports from this concert that were published in different newspapers or on different websites, but this is the only interview that I found. It was taken one day before the show in Bucharest. It was published on the website of Radio Romania Muzical, the best radio station in Romania that deals with this side of culture (classical music, opera, concerts).
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The author is Cristina Radu and you can read the article in Romanian HERE.
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Below you have the translation.
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Saturday, September 19th 2009, in Constitution Sqare, the famous soprano Angela Gheorghiu offered to the citizens of Bucharest an exceptional concert on the occasion of anniversary of 550 years of history of the city. In front of a large crowd, Angela Gheorghiu had a spectacular appearance on stage together with her colleagues: the tenor Vlad Mirita and “George Enescu” Philharmonic Orchestra conducted by Tiberiu Soare. The concert was introduced by Victor Rebengiuc and it was a huge success.
In exclusivity for Radio Romania Muzical, this is an interview taken after the general rehearsal, one day before the concert.

Thank you and we’re honored that you accepted to give this interview for Radio Romania Muzica and for the Romanian public who’s waiting for this concert with great enthusiasm. What is the program and what can you tell us about your colleagues?
If you had been here since the beginning you could have found Victor Rebengiuc here. He’ll present the concert tomorrow night. My partner on stage will be Vlad Mirita, whom I sung with in Italy, one month ago. A few days ago I came back from Moscow where I had two concerts with another great Romanian tenor, Marius Manea. I’m happy to return to Romania. Tonight it was almost a concert, we sung a lot.
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You have a very successful career, being admired by the public around the world. What does it mean to be a lyrical artist in the 21st century?
I’m spoiled, as I always said and theatres and public, both in concert halls and open air spaces, proved it to me. In open air concerts there’s a different way of shearing emotions with the public. I believe in technique, in microphones, and for the artists that manage to have a career these are not mystery anymore. What can I say? For the past 20 years I’ve been packing and unpacking, I go to every corner of the world. From here I go to London, then to Singapore, Tel Aviv and then United States…But I’m glad I’m home again and that I found this great opportunity to celebrate Bucharest: 550 is an important figure and I’m happy that I’ll perform next to the Bucharest Philharmonic, a beautiful orchestra with talented instrumentalists. Moreover, I met for the first time a talented and very well prepared Romanian conductor, Tiberiu Soare. I think we have amazing young musicians. Take advantage of them, I tell you that. Otherwise they’ll pack and go somewhere else in the world.
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You’re a very appreciated and loved model by the young people who train for a lyrical career. What can you tell them?
I wish them luck starting from school, from the teachers, those who have trust in them. Since I was 17 I started to appear on TV, radio, I did a lot of recordings, took part in many shows that proved to be useful. Music teachers at high school and later on at the Conservatory became my friends and most of them gave me private lessons without taking money. They just wanted to know I’m well prepared and to encourage me. I recall many people that worked in radio and TV: Iosif Sava, Luminita Constantinescu, people that did extraordinary shows.
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You have a very broad repertoire, for tomorrow night too. Where are you heading to, speaking of the repertoire?
It’s not heading anywhere. I never “behaved” with my repertoire but I’ve always been very careful. I don’t do the same operas on stage and on recordings, I don’t sing too much, I chose the theatres I sing in, the productions, the partners. If I have to put in balance how many times I said “yes” and “no”, I think I used “no” more often. Even if I lean towards mezzo parts I think it’s more about the “color”, the character than the volume.
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During your career you’ve been always surrounded by important people, great conductors, singers, directors…
Yes, I think I met the best. In 20 years of career I don’t think there’s somebody from opera, film, theatre I haven’t met because the faith led us on the same path. They came to my shows or I went to see them in theatres. I remember I met Jeremy Irons in New York not long time ago. Some months before I met Judi Dench, a great British actress, a good friend of mine. There are people that give me energy because I love theatre and I want to bring something from it in opera too.
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You’re a true diva, which makes us think of performace. How do you see the evolution of this word in the 20th century?
It’s not what it used to be. It was first used for opera singers, some centuries ago. Starting 100 years or 50 years ago people started using it for pop singers, in fashion, in sports. First it designated a person that had an angelic voice, that reminded of “divine”. This is where the term is coming from, right? Later on it was used for men and women who had the ability of delivering positive emotions to the people that admire them, that dream to get closer to them.
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You make people that come to listen to you happy. Good luck tomorrow night!
And see you soon. I’m happy to be in Bucharest, I love my city… even if I’m from Adjud, from Moldavia, I’ve been living in Bucharest since I was 14 so I consider myself citizen of Bucharest. So long live Bucharest!

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