Zeljko Lucic talked about 2011 Summer Part1

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2011年10月20日

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Zeljko Lucic talked about 2011 Summer Part1
19 October 2011 at the MET
during the intermission of "Il Barbiere di Siviglia"
in the radio show hosted by Ms. Margaret Juntwait

Zeljko Lucic talked about 2011 Summer Part2

(In Japanese) ジェリュコ・ルチッチ　インタビュー at the MET 2011年10月 Part 1

(In Japanese) ジェリュコ・ルチッチ　インタビュー at the MET 2011年10月 Part2

***

well, I was very much moved! Thank you, Margaret!

She has just interviewed Zeljko Lucic in the radio show she hosted,

What is I wanted to hear from him most!

Thank you so much Ms. Margaret Juntwait, I am your listener every time!

***

M: We love to welcome baritone Zeljko Lucic, Hello, dear dear!

Z: Hello, good evening. very nice to be here.

M: I'm trying to picture you as Figaro, -

Z: hhh(giggling)

M: -this character has so much fun, he gets run around the stage, he was funny bits as "Largo Al Factotum" （私は街の何でも屋）

Z: Yeah.

M: Would you ever wanted to sing Figaro?

Z: Yes, I would, but ha-ha-ha I think it's too late.

Z: Um----

M: Just go into the past you can--?

Z: Actually I lost the moment.a couple of years ago, ten, fifty years ago when I was beginning, I should sing it then, you know, at the beginning. That's real for the beginners.

M: Did you ever do?

Z: Never. Unfortunately I've never sung. Of course at the beginning I did lyric opera baritone role as Onegin, like Silvio in Pagliacci, like Valentin in Faust and then since my first Germont(Giorgio Germont) in La Traviata, Verdi took me. That's the direction I stay there and I did almost all his operas and I'm still in that repertoire.

Z: Almost all, yes.

M: Is it because it suits your singing or because you love his writing so much?

Z: Uh, both. Actually it's really both. I like his writing, adore Verdi as composer how he wrote these operas and of course I like Verdi and suits my voice, yes.

M: Tell us about that then because some baritones could conceivably sing maybe Verdi and Figaro, Rossini, -- am I going in a wrong direction?

Z: No, no. Uh, I think I could sing Figaro now. I said it's too late because I'm lazy, I don't have no time to learn the opera. (laughing) But let's look Leo Nucci for examples, every time he feels like being tired of singing hard baritone roles dramatic roles, he goes back to Figaro in order to relax his voice.

M: That's very interesting.

Z: Yeah. You're taking couples of very light not so high baritone roles, little bit out of the hard repertoire, dramatic repertoire and then come back again.

M: Ruggero Raimondi as well?

Z: Um-, well yes.

M: He was Basilio.

Z: yes, yes.

M:-- to go into the ---

Z: Just go into the Rossini opera just to take a little breath and then come back.

M: like a little, um, Amuse-bouche.

Z: (laughing) yes.

M: So the Nabucco is the story of the conversion of Nebuchadnezzar(= king of the Neo-Babylonian Empire, who reigned c. 605 BC - 562 BC)(ネブカドネザルの改心、帰依), and it's early Verdi, what is it take for you as the title role to feel like this big Biblical character? （聖書に出てくる人物）What do you have to say to yourself before you go out on stage, (arrogantly) I, Nebuchadnezzar.

Z: Ah,

M: and going to claim myself as God eventually,

Z: Yes but after that immediately I'm going crazy. (laughing)

M: Yes!

Z: so I'm preparing myself more to be crazy, and absent completely then to be King or God.

M: I would imagine because you are a big man and you have a commanding voice and just have a lot of presence. Before you go crazy, being a King must be easier a sort of--portrayal for you?

Z: Yes, yes it is, just only because of as you said I'm a big man, it's not hard to play the character that demands substance and actually I wanna say it's natural, going on a stage singing Nabucco is nothing natural there,(giggling) but I don't prepare myself special - in special way to do this,

M: But you do think your head to the point which you, sort of mentaly incapacitated, you said, you make yourself some sort of empty or vacant?

Z: Yes, yes. I mean, look, Macbeth is going crazy as well, in other sense Simon Boccanegra also. Nabucco which I did all this role it's really not hard for me to tranform myself to be crazy really, completely absent not knowing when I'm doing, where I'm going so it's kind of very natural thing.

M: So when you are singing role of Macbeth, because I always go back to you're singing Macbeth here, it's just very much alive for me, when you singing that role Maria Guleghina was Lady Macbeth. so I've always felt that the connection between the two of you, that is very good pairing, I think. What do you think, she is also in Nabucco with you, What do you think she brings out in your performance?

Z: Actually she doesn't let me be abandoned. She is there, very tough, very hard I mean, strong as a person, as a singer. You have to follow her. If you don't you will lose. and you don't have Nabucco, whole opera whole performances like nothing. So you have to compete with Maria every time you sing.

M: That's interesting. Do you think you bring out (= 〈真価・特徴などを〉引き出す, 発揮する)something in her?

Z: Well I think so, At least I should. but our duetto in third act Nabucco is really quite something.

To be continued to Zeljko Lucic talked about 2011 Summer Part2

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