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Contact: irina.stanescu@ymail.com
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Seoul, this evening

Photos via www.facebook.com/angelagheorghiuofficial
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Angela with Stefan Pop (left) and Ion Marin (right)
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Celebrating love


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And 15 years after the wedding that took place at the Met I wish you.. no, We, the fans, wish you a long, beautiful life ahead! Happy anniversary!
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Performances database - new section

I've been working on this for some time now. The database contains operas, concerts and other events from '80s to present days, with dates, venues, programs, casts, orchestras and other info I found. There are lots of other performances to be added. In time and with your help, I'll make it complete. Big thank you to all those who contributed!
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Click on the photo below to open the database. And you can also find it on the right side of the blog.
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Enjoy browsing and Happy Easter to everybody!
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Stefan Pop to join Angela in Korea


The website of Seoul Arts Center says that the guest tenor for this concert is now Stefan Pop (instead of Marius Brenciu). I'm glad. I recently saw him in La Traviata at National Opera Bucharest and I must say this was the best Traviata I listened to this opera house. No doubts about that. Stefan Pop won Operalia and the 6th Seoul International Music Competition in 2010, so the Korean audience will have a great experience with three Romanians on stage.

Listen to Stefan Pop singing Che gelida manina from Puccini's La Boheme (which he'll also sing in the concert)


And this is the program:

Korean Symphony Orchestra
Ion Marin - conductor

Verdi - Nabucco - Overture
Catalani - La Wally - Ebben ne andro lontana - Angela Gheorghiu
Donizetti - L'Elisir D'amore - Una furtiva lagrima - Stefan Pop
Puccini - La Boheme - O soave fanciulla - Angela Gheorghiu/Stefan Pop
Mascagny - Cavaleria Rusticana - Intermezzo
Dvorak - Rusalka - Song of the moon - Angela Gheorghiu
Donizetti - L'Elisir D'amore - Caro elisir - Angela Gheorghiu/Stefan Pop

Tchaikovsky - Eugen Onegin - Polonaise
Grigoriu - Muzica - Angela Gheorghiu/Stefan pop
Massenet - Cherubin - Aubade Vive amour qui reve - Angela Gheorghiu
Puccini - La Boheme - Che gelida manina - Stefan Pop
Bernstein - Candide - Overture
Ponce - Estrellita - Angela Gheorghiu
Lehar - Die Lustige Witwe - Lippen Schweigen - Angela Gheorghiu/Stefan Pop

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And again, La Boheme. Hamburg, 2012


March 27, March 30 and April 4, to be more exact. Check out the website of Staatsoper Hamburg. A new Rodolfo joins the group. Giuseppe Filianoti is singing in all 3 performances.
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The photo is from the production, @Staatsoper Hamburg. There are some more on the website. The tickets are not on sale yet.
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2012, "La Boheme" year

Several appearances were announced lately. All of them (including general booking date, links to venues and other details), in the Appearances section on the left side of the blog

Operas
* La Boheme during Opera Festival at the Bavarian State Opera in Munich (July 17 and 20, 2012). The great thing here is that another talented Romanian soprano will join Angela on stage, namely Laura Tatulescu, as Musetta.
* La Boheme at La Scala, several dates in September/October 2012
Add also La Boheme at Liceu Barcelona that was announced some weeks ago (no dates yet, just February/March). There is a wide variety of Rodolfos.

Then there are two concerts
* Philharmonie Essen on February 11, 2012 (with Marius Manea)
* Salle Pleyel on June 6, 2012 (with Marius Brenciu)

And finally, the two concerts in Japan were postponed, according to Suntory Hall. They don't mention the new dates, but they're listed on the official website: October 11 and 16, 2011
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My fav soprano in my fav place

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Via Facebook fan page
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Angela - the music, the roles, the passion

And here it is. The translation of the interview. Enjoy!

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“Adriana Lecouvreur” was very well received by audiences and you have already sung it in Berlin and London. Do you intend to take Adriana to United States soon? Your fans across the ocean are wondering…

Yes, my dear Irina, I’ll sing in the same production in San Francisco and Los Angeles. We’re still working on the schedule.

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In an interview that you gave before singing in “Adriana Lecouvreur” you were asked which side of yours reflects in the character and you postponed the answer. Can you tell us now where Adriana Lecouvreur and Angela Gheorghiu meet?

Angela and Adriana met on stage. Same as Floria Tosca, Adriana Lecouvreur is an artist loved and respected in her time. She had the gift of bringing novelty, courage and simplicity in a period when the presence of the woman on stage was disfavored.

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Three years ago you recorded “Madama Butterfly”. Your fans would like to know when you will sing this role on stage. Is this a pragmatic decision, related to a set career plan, to the future schedules of the opera houses or is it just a matter of artistic and emotional readiness that you’ll acknowledge when you meet it?

None of these. It’s true that I adored singing each note of this difficult score but the answer is much simpler. I haven’t planned to sing Madama Butterfly on stage yet.

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Since the first years of your career you have constantly sung roles such as Violetta, Mimi, Tosca. Do you intend giving up one of these roles to make room for new ones?

I don’t intend to give up these characters but I seriously think of new titles.

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Speaking of new roles, when you prepare one do you work methodically, from the beginning to the end of the score or do you choose the key moments first? Generally speaking, how long does it take you to learn a new role?

I’m extremely organized and conscientious when I practice. For me, the score is like the life in images and sounds. When I start studying a score I know instinctively that it’s suitable for my voice. I have never started learning a score to give it up later. I like to read the score note by note, also playing the piano, from the first to the last page, as if I’m reading a book. I never start with the difficult moments. I enjoy creating the real image of the opera or performance. We never start a performance with a particular moment, do we? After that I read the libretto also as if it were a book. No, more than that, as if it were a part in a play. I like to recite the libretto. When I manage to understand the proper meaning of the words then I put everything in chronological order. Many times I practice the difficult moments in several postures, to be able to sing if a director asks me to do something unusual or brave. Sadly, the directors haven’t dared to ask for something else so far. Maybe my attitude and my way of singing made the directors feel it’s more than enough and they declare themselves happy. I still wish to experience these kinds of things. I dream of a modern “La Boheme”, full of original ideas. It’s extremely strange that the most modern production becomes old-fashioned faster than a classical production that observes the libretto, the style of the music and it’s in perfect harmony with what the composer or the librettist wanted to express.

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Sometimes the lyrical artists are offered roles that have no connection with their type of voice, with their repertoire and that normally they would refuse. Which was the weirdest offer you received?

It’s obvious that every day we get some of the strangest offers. This is the exact moment when we have to say: “definitely no”. Usually the singers accept the offer because they don’t have a better one or they want to prove how brave they are. I think that the true modesty, humility and respect for music and audience is when you understand where your place is and what your limitations are. But this doesn’t mean you’re not good or you’re not courageous to take the challenge. It means you know your own voice very well. Vocal health should be the most important for a singer. We should never make an effort or try to prove that we are something we’re not. Whoever did this, paid the price. I’ll always remember the advice of my friend, the baritone David Ohanesian: “never too high, never too loud because you’ll suffer soon“. I don’t believe in competition in this profession. I don’t see why excessive singing is so important. You may like it or not, but the audience feels when you give yourself totally on stage.

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Besides operas you sing in a lot of concerts, accompanied by orchestra. Is there any particular reason you prefer these to recitals? You declared recently that you’ll record a recital for EMI. Will it be live or in studio?

I like concerts very much. They’re like fireworks, with lots of musical jewels in one evening. Recitals with piano have more of a chamber atmosphere. Yes, I’ve just finished recording my latest CD in New York, during the rehearsals for “Romeo et Juliette”. It contains some of the most beautiful arias. It is a pretty shocking idea. This time I prepared big surprises. It’s the first time in the history of opera that this artistic and technical approach has been put into practice!!!

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You said many times that you count on intuition a lot, that you personally make most of the decissions related to your career. Still, have you had moments when you felt the need to ask for a second opinion, let’s say, in professional matters?

Never in my life have I had the courage to ask somebody something. For four years, when I studied at “George Enescu” Art High School, I have been following Mia Barbu’s advice religiously. Starting at 18 it became my choice not to ask for opinions. I don’t want to have the occasion to think I made a mistake because of someone. If there’s a mistake, it has to be my own. I take full responsibility. It’s not easy, I’m aware of this, but I prefer being myself, to have the authenticity and liability of my life. Sure, I got offers, but I’m the one deciding if I can do it or not, if I want or not. For me, instinct means God. He’s the one wanting us to act in a certain way. Why doesn't He wish only the best for us? Well, I don’t have an answer to this question.

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Your performances made so many people in the audience cry. As a spectator, have you lost yourself in music and cried at the opera in the past few years? Is there a particular opera?

Yes, I cried many times or I had goose bumps. I see this feeling also as a sign from God because it’s involuntary. You have it or not. The latest opera was “Aida” with Roberto at Royal Opera House. I was impressed by the fact that he has the strength to change his interpretation technically from one performance to another. It’s never the same. I see it as an act of great courage, considering the difficulty of the roles. Then there’s the diversity of his repertoire over many years and the capacity to sing both cross over and opera at the same time. He has preserved graciousness and professionalism and I respect this. The singers will understand what I want to say.

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As spectators we often have an image of the character we’re about to see on stage, we have expectations regarding the way of singing, of acting. Do you have expectations from your audience? Is there a prototype of the audience you’d like to have in the venue?

I know and understand this reaction of the audience. It’s normal. I don’t have a prototype of the audience. It wouldn’t be correct because I’m only one and I have in front of me many souls. I will never give more or less, according to the public or venue. All we want is to be surrounded by this unique spell named music.

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My final question is not related to the professional life but it’s also about… music. The distance between us and the artists made us have prejudices about them. I couldn’t imagine you driving. Then I saw a photo and I was curious: what is Angela Gheorghiu listening to when driving?

Hmmmm, what a marvelous question! I love to drive. It’s impossible driving without music. It’s as if you don’t have gas. I listen to good music but, depending upon the landscape, I listen to old Romanian music. Last time when I was in the Alps with Roberto, Mioara Manea and Gabriel Arvunescu, I listened to the best songs by Doina Badea and Gica Petrescu, that we all love. Roberto has already learnt these songs and sings them to me often. The latest song he dedicated to me in perfect Romanian was “Oameni, oameni”, first sung by Aurelian Andreescu. But I can’t start a journey without Sting or Michael Buble…

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Angela Gheorghiu - muzica, rolurile, pasiunea / The music, the roles, the passion. Not just another interview

After reading each interview given by Angela Gheorghiu I thought countless times: how would it be if by a miracle if I were interviewer? What questions should I ask? How many? Which are the curiosities of the fans? Are the questions different from what we usually find in interviews? Well…
Sometimes it’s enough to want something very, very much and you’ll get there. I’m happy to offer you the interview Angela Gheorghiu gave me recently. Thank you very much for this on behalf of my readers! I can’t put into words the happiness I felt when I read it: it’s surprising, you’ll see. Enjoy!
I post it first in Romanian, for authenticity. It has a certain flavor that I wanted to preserve. But the translation comes soon and I’ll do my best to keep the feeling.
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Nu o data m-am gandit, dupa fiecare interviu cu Angela Gheorghiu pe care l-am citit: cum ar fi daca as putea, printr-o minune, sa fiu eu intervievatorul? Ce intrebari as pune? Cate? Ce curiozitati au fanii? Sunt diferite de ce gasim in mod obisnuit in interviuri? Pai...
Cum se spune, cateodata e de ajuns sa-ti doresti ceva cu putere si primesti. Sunt bucuroasa sa va ofer un interviu pe care Angela Gheorghiu mi l-a acordat recent. Va multumesc, in numele cititorilor mei! Nu pot sa spun cat de mare a fost bucuria mea cand l-am citit: e surprinzator, va veti convinge. Lectura placuta!
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”Adriana Lecouvreur” a fost foarte bine primita de public si deja ati cantat rolul la Berlin si la Londra. O sa o duceti pe Adriana si in Statele Unite in curand? Fanii dumneavoastra de peste ocean se tot intreaba...
Da draga mea prietena Irina,voi canta in aceeasi productie la San Francisco si Los Angeles. Suntem in cautari de date.

Intr-un interviu pe care l-ati acordat inainte de "Adriana Lecouvreur” ati fost intrebata ce latura a dumneavoastra se reflecta in personaj si ati amanat raspunsul. Acum ne puteti spune unde "se intalnesc" Adriana Lecouvreur si Angela Gheorghiu?
Cred ca si la propriu si la figurat Angela si Adriana s-au intalnit pe scena. Ca si Floria Tosca, Adriana Lecouvreur este o artista iubita si respectata in vremea sa. Cu un mare dar de a aduce noul, curajul si naturaletea intr-o epoca in care femeia era foarte dificil de a fi vazuta cu ochi buni "pe scena".

Acum trei ani ati inregistrat "Madama Butterfly". Admiratorii dumneavoastra ar vrea sa stie cand veti canta acest rol pe scena. Este acesta decizie una pragmatica, legata de un plan de cariera pe care il aveti stabilit, de planurile viitoare ale teatrelor lirice sau e doar o chestiune de disponibilitate artistica si emotionala pe care veti intelege ca o aveti atunci cand va veti intalni cu ea?
Nimic din toate astea. Este adevarat ca am adorat sa cant fiecare nota a acestei dificile partituri dar raspunsul este mult mai simplu. Inca nu mi-am propus sa cant Madama Butterfly pe scena.

Ati cantat cateva roluri constant, inca din primii ani ai carierei dumneavoastra: Violetta, Mimi, Tosca. Intentionati sa lasati in urma vreunul dintre aceste roluri pentru a face loc unora noi?
Nu intentionez sa abandonez aceste personaje dar ma gandesc foarte serios la titluri noi.

Vorbind de roluri noi, cand pregatiti unul o faceti metodic, de la inceputul pana la sfarsitul partiturii, sau alegeti mai intai momentele cheie? Cat timp va ia, in general, studiul unui rol nou?
Sunt extrem de ordonata si constiincioasa cand studiez. Partitura pentru mine este ca o viata in imagini si sunete. Cand incep studiul unei partituri stiu dinainte ca este bine pentru vocea mea. Instinctual. Niciodata nu am inceput sa studiez o partitura ca mai apoi sa o abandonez. Imi place sa o cant mai intai pe note, solfegiind la pian. Incep cu prima pagina pana la ultima. Exact ca si cum ai citi o carte. Niciodata nu incep cu momentele dificile. Imi place ca de la inceput sa am imaginea naturala a operei sau a spectacolului. Niciodata nu incepem cu un moment anume un spectacol, nu?! Dupa solfegiu citesc textul tot ca pe o carte, ba mai mult, ca pe un rol actoricesc. Imi place "sa spun" textul. Dupa ce am reusit sa inteleg sensurile corecte incep sa asez textul cu cuvintele in acelasi timp ca in timpul spectacolului, tot in ordinea desfasurarii. De foarte multe ori studiez in mai multe pozitii corporale momentele dificile cu gandul de a fi capabila sa interpretez atunci cand un regizor imi cere ceva mai nastrusnic sau curajos. Din pacate regizorii nu prea au avut curajul pana acum sa-mi ceara "altceva". Probabil atitudinea mea si modul interpretarii muzicale ii fac pe regizori sa simta ca este deja suficient si se declara, ce-i drept emotionati, multumiti. Inca imi doresc sa am aceste experiente. Inca mai visez la o "La Boheme" moderna si plina de accente compozitionale. Ideea modernitatii in teatre este de multe ori gresita voind sa facem "experiente". Este extrem de straniu, cum cea mai moderna montare devine mai repede demodata decat o montare clasica in perfecta concordanta cu textul, stilul muzcii si in armonie cu ceea ce si-au dorit compozitorul sau scriitorul.

Am auzit ca se intampla ca artistilor lirici sa li se propuna roluri care nu au nici o legatura cu tipul lor de voce, cu repertoriul pe care il abordeaza si pe care evident le-ar refuza categoric. Care a fost cea mai bizara propunere pe care ati primit-o?
Se intelege ca in fiecare zi primim propuneri dintre cele mai curajoase. Exact acesta este cel mai important moment cand trebuie sa spunem: nu categoric. In general cantaretii accepta pentru ca nu au altceva sau sa dovedeasca cat de puternici sunt. Eu cred ca adevarata modestie, umilinta si respect pentru muzica si spectatori este atunci cand intelegi exact unde iti sunt locul si limitele. Dar aceasta nu inseamna ca nu esti bun sau ca nu ai curaj pentru un challenge ci doar constiinta sanatoasa a propriului instrument. Sanatatea vocala este primordiala pentru un cantaret. Niciodata sa fortam sau sa aratam ceva ce nu suntem. Cine a facut asta l-a costat. Imi voi aduce aminte totdeauna sfaturile prietenului meu baritonul David Ohanesian: niciodata prea sus si niciodata prea tare, pentru ca nu prea tarziu vei plati. Eu nu cred in competie in aceasta profesie. Nu vad ce importanta poate avea bulimia muzicala. Poate sa iti placa sau nu, dar publicul simte cand te daruiesti total.

Cantati destul de mult si in afara productiilor de opera, de cele mai multe ori concerte, cu orchestra. Exista vreun motiv pentru care le preferati recitalurilor? Ati declarat de curand ca veti inregistra un recial pentru EMI. Va fi in studio sau live?
Imi plac concertele foarte mult. Este ca un foc de artificii cu multe bijuterii muzicale intr-o singura seara. Recitalurile cu pian sunt mai mult pentru o atmosfera camerala. Da, am terminat acum la New York in timpul repetitiilor cu Romeo et Juliette ultimul meu CD cu arii din cele mai frumoase. Va fi o idee destul de socanta. Am mari surprize de aceasta data. Este prima data in istoria operei cand se pune in practica o astfel de abordare artistica si tehnica!!!!!!!

Ati spus de multe ori ca va bazati foarte mult pe intuitie, faceti cele mai multe alegeri legate de cariera dumneavoastra singura. Ati avut, totusi, momente in care ati simtit nevoia sa va consultati cu cineva, in chestiuni profesionale, de exemplu?
Niciodata in viata mea nu am avut curajul sa intreb pe cineva ceva. 4 ani ,in vremea Liceului de Arta “George Enescu” am ascultat cu sfintenie sfaturile Miei Barbu, profesoara mea de canto. De la 18 ani a fost alegerea mea de a nu cere vreo consultatie cuiva. Nu imi doresc sa am posibilitatea ca dupa aceea sa gandesc ca as fi gresit din pricina cuiva. Orice greseala vreau sa fie doar a mea. Imi asum acesta caracteristica. Nu este usor, realizez acest lucru, dar prefer sa fiu eu, sa am originalitatea si responsabilitatea vietii mele. Se intelege ca am primit propuneri, dar eu sunt aceea care decid daca pot sau nu, daca vreau sau nu. Intuitia pentru mine inseamna Dumnezeu. El este acela care doreste de la noi sa actionam intr-un fel sau altul. De ce nu ne doreste numai bine, la aceasta intrebare nu am raspuns.

Interpretarile dumneavoastra au miscat pana la lacrimi multi spectatori. Dumneavoastra, in calitate de spectator, v-ati lasat furata de muzica si ati plans vreodata la opera, in ultimii ani, sa spunem? Una in mod special?
Da, am plans de multe ori, sau am avut pielea de gaina, senzatie pe care o vad tot ca pe un semn de la Dumnezeu pentru ca o simtim involuntar. Iti vine ori nu. Ultimul spectacol a fost Aida cu Roberto la ROH. M-a impresionat faptul ca are puterea de schimba tehnic interpretarea de la un spectacol la altul. Niciodata nu este la fel. Pentru mine acesta este un act de mare curaj, si mai ales in cele mai dificile roluri. Apoi eclecticitatea repertoriului si puterea de a savarsi spectacole de opera si crossover in acelasi timp in ani de zile cu aceeasi gratie si profesionalism, este demn de tot respectul. Cantaretii vor intelege perfect ce vreau sa spun.

Ca spectatori avem de multe ori o reprezentare despre personajul pe care urmeaza sa-l vedem pe scena, avem mai ales asteptari despre cum vrem sa fie cantat, jucat...Dumneavoastra aveti asteptari de la public? Exista un portret robot al publicului pe care sperati sa-l gasiti in sala de spectacol?
Stiu si am inteles intotdeauna aceasta reactie a publicului, naturala de altfel. Eu nu mi-am facut un portret al publicului. Ar fi ilogic, pentru ca eu sunt doar una si in fata mea multe reactii din partea mai multor suflete. Niciodata nu voi darui altfel, mai mult sau mai putin in functie de public sau scena. Tot ceea ce ne dorim cu totii este sa ne lasam furati de vraja unica ce ne uneste: muzica

Am lasat la sfarsit o intrebare din afara sferei profesionale dar care este tot despre ...muzica.
Distanta care ne desparte de artisti ne face sa avem niste prejudecati despre ei. Mult timp nu am putut sa imi creez in minte o imagine cu dumneavoastra la volan. Dar am vazut la un moment dat o fotografie. Si apoi am fost curioasa - ce muzica asculta Angela Gheorghiu cand conduce?
Hmmmm ce superba intrebare. Imi place sa conduc la nebunie. Fara muzica la volan este imposibil, este ca si cum nu as avea benzina. Ascult muzica buna dar de multe ori depinde de peisaj, ascult muzica de petrecere. Ultima oara prin Muntii Alpi impreuna cu Roberto, Mioara Manea si Gabriel Arvunescu am ascultat cele mai frumoase cantece cu Doina Badea si Gica Petrescu pe care ii adoram amandoi!!!
Roberto stie deja aceste cantece si mi le canta foarte des. Ultimul cantec ce mi l-a dedicat intr-o romana perfecta a fost "Oameni, oameni", cantat prima oara de Aurelian Andreescu.
Dar nu pot niciodata sa plec fara Sting sau Michael Buble...
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ROH's Tosca on TV and radio


Great news coming from BBC, part of their partnership with ROH. "Other presentations include The Royal Opera's production of Tosca with Angela Gheorghiu in the title role and Bryn Terfel as Baron Scarpia, accompanied by Pappano's Essential Tosca, a documentary presented by Antonio Pappano in which he examines the dramatic importance of each location in the opera and illustrates what Puccini does musically to create a great theatrical experience".

Then, on BBC Radio 3, "highlights of Radio 3's season include Tosca with Angela Gheorghiu as the heroine, Jonas Kaufmann as her lover Cavaradossi and Bryn Terfel as the Chief of Police Scarpia"

Schedule to be confirmed. More details here
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Last night, in Toronto

Again 5 encores and delirious audience. Celine, thanks!

And the first review, in National Post.

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Video interview on Rompost TV, Vancouver




. Via YouTube here comes a video interview from Vancouver. A few questions, lots of smiles and some footage from the concert on Sunday evening. It's nice seeing Angela after so long. Here's what she's saying: It’s a small world. I didn’t expect to speak Romanian in Vancouver. I’m impressed.


You performed on the greatest stages in the world and this is your debut in Vancouver. What made you accept the invitation? Any performance is a debut for me. If the “ingredients” are correct and if I receive proper answers to all my questions then I say Yes, and here I am, in Vancouver. It’s my first time in this city, but not my first time in Canada. This venue is like a jewel and I’m impressed. The orchestra and the conductor are amazing.


Everywhere you go you always say you were born in Romania and mention your first teacher, Mia Barbu. It’s normal for an artist that travels around the world, that sees new faces in front of her each evening. I’m different, the situation is different. Each time it’s like a debut. The fact that you reminded me of Mia Barbu made me feel well. She influenced my career, in every possible way.


In December you attended a Gala concert in Bucharest and you also received the “Star of Romania”. At a certain age you start receiving more and more awards. It’s an honor for me to receive them. But we have to understand that an artist isn’t chosen by the destiny or chooses her destiny. I was born with this voice and don’t expect to receive something in exchange. I am what I am because I can’t be different. I never wanted to be somebody else.


If you were to be born for the second time, where would you choose to live and what would you like to do? I didn’t choose, I was chosen. The fact that I followed a destiny or the fact that I always liked to share what I was given it’s like a second nature to me. It’s like you have something to eat when you’re hungry. I was meant to study, to travel, to change the entire program so the audience thinks I was born a day before. I’m happy to speak Romanian. It’s strange as I’m so far away from home.


Yes, there are more than 10000 km to Bucharest. You have a great career. When searching the internet, anybody can immediately find quotations such as “the most glamorous and gifted opera singers of our time”. If I may ask, do you have regrets? How can I have regrets? I don’t want to be misunderstood as it seems I deserved something. I think exactly the opposite. I always felt I must do this. And people have the curiosity to see me and listen to me. It didn’t have a goal in doing something or being somebody. I have just followed the path. And I try to be a good girl even if it doesn’t seem like this. We have to dress nicely, to have good manners in order to be admired. We all have the same wish, to have a great performance, to be surrounded by magic.


I’m sure the same will happen here, on Sunday evening. As a conclusion to our interview, do you have a message for the Romanian community? You should miss Romania, you should stop saying that you left Romania. I am often asked when I left Romania. I never did that. Traveling is part of our existence. Nowadays people want to travel, they want to live where they comfortable and we’re free to do this. But let’s not forget about Romania. I love it with all my heart and I’ve never felt differently.


It is an honor to have you here, in Vancouver. Thank you! .

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"I am careful, not difficult". New interview in The Star

One day before the concert in Toronto (on April 7), the Canadian newspaper The Star published an interview with Angela, signed by John Terauds. There's a little bit of everything in there. I like the tone of this interview, somehow different from the others. And in the end there's again a mention about a future master class.

Just a fragment here, the rest can be read online.

Whenever your name is mentioned, there is talk about how difficult you are. You expect a certain standard from a production. You expect a certain standard from a director...
I am responsible, not just trying to be good or to be nice. When you are somewhere, you need to answer many questions: Am I in the right place, in the right role with the right people? Do you know how many questions you need to answer before a performance starts? It’s crazy. I need to be careful with everything. That is all. I am careful, not difficult.

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Adriana Lecouvreur from ROH on ARTE, May 7

The production filmed at the Royal Opera House in London in December 2010 will be broadcasted on Arte next month, on May 7, starting 8:15pm

Isn't this great?

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Tosca, finalmente mia?


So? Did you do better than in March? What was your number at the queue? :)). I got in the moment the booking opened and both July 14 and 17 were sold out. Then there were some tickets here and there, but most of them 190 pounds or more.

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First reviews for the Vancouver concert

The Vancouver Sun

The Globe and Mail

Straight.com

Mr Duke from Vancouver Sun enjoyed the performance. The other two seemed to have had a bad day before going to the performance.

And here's a review from Tracey, who attended the concert and wrote to me. Thanks a lot! The reviewers need a brain and a heart transplant, especially the appropriately named Lloyd Dykk. Angela's voice was rich and velvety like dark chocolate, with added strands of golden light. It was something to fall into and float away on. She wore two gorgeous gowns, one classy, one classy and sexy! The audience was very responsive and stood and shouted hence the five encores. They did not cough or sniff or turn the pages of their programs. It was a wonderful night, an unforgettable experience. The signing lasted from 10:30 until after midnight and as always, Angela was wonderful with everyone. The staff said that in all their years working at the VSO, nobody had been as wonderful and approachable as she had been. This is what reviewers should be writing about. Angela the divine.

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Tickets for Tosca on July 17 already available on ROH website

UPDATE 2: It seems that many people managed to get tickets, for both performance. I'm happy I could help :).
1 TICKET AVAILABLE FOR JULY 14 - I got a comment from Claudia saying that now that she bought a better ticket, she's willing to sell her ticket bought in March (Amphitheatre Lower Slips Left A 2) for July 14. If there's anybody interested, just send me an email.


UPDATE: July 17 is now gone from the website. So it was a mistake. If anybody managed to get a better ticket, then congrats! For the rest of the opera goers, keep you fingers crossed for tomorrow!

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This was supposed to be a reminder, but if you check now the website of Royal Opera, you'll see that you already can buy tickets for Tosca on July 17. There are some good ones at the Amphitheatre. July 14 is not listed yet.

How should I call this? Hmmm... the big fight following the other big fight one month ago? Besides the non-friend public, also a lot of Friends will try to get better tickets for Tosca on July 14 and 17.

Anyway, General booking opens on April 5, at 10am (UK time).

Good luck! And let me know if you did better than in March.

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"Amazing and fabulous", with 5 encores

Just a short description of the concert that took place last evening in Vancouver. I also got "Emotional and fabulous". According to some friends that attended (thanks, friends!;) ) it was a night to remember.

There were five encores: Siboney, A Little Star, All the Things You Are, Granada and one verse from the Romanian song Ciobanas cu trei sute de oi, a capella.

Congratulations! I'm so happy everything went so well!

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Interview on CBC Radio 2. "I found her totally charming"





The interview was recorded on Friday afternoon, after the rehearsal at the Orpheum Theatre in Vancouver and broadcasted at Saturday Afternoon at the Opera, on CBC Radio 2, a Canadian station. Bill Richardson talkes to Angela about the emotions when singing on stage, about religion and about Roberto. Charmed by her, Mr Richardson's first question was... How long has it been since you've had a job that wasn't singing? Did you ever do anything like work in a McDonalds?

Funny, isn't it? There are also 3 songs. But I won't spoil the pleasure of listening.

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Something I like




A lot. The song is called "Coimbra" and it's a traditional fado. The local flavor is always impressive in a concert. Many videos from this Lisbon 2002 concert are posted on You Tube.


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