Zeljko Lucic talks with Bing and Dennis in Classic Talk Part 3
Zeljko Lucic talks with Bing and Dennis in Classic Talk Part 3***D: Singers often go to so we called crisis of career with voices, it happened to you? oh my God, I'm losing my voice?Z: Fortunately not. not yet. I think, maybe will never happen but of course you never know, what the future brings, unfortunately some samples of my colleagues, B: Because you really take care of yourself, try not to-, I think it's very important.Z: It is. it is. you know discipline. Discipline is everything. and you conscious your brain, think about any - , where dangerous thing that can conflict with your job with your throat or vocal code, you really have to say, no, No I don't wanna go to restaurant tonight, visit this party or go to Birthday or this wedding, etc.etc.D: Do you still today have voice teacher whatever someone going to have check up if I'm doing right?Z: Yes, my teacher is 88 years old, she still travels alone, she was here in New York for a - it was Macbeth, I think she saw La Gioconda as well, and of course when she was there, she listened and afterwards she came to me just say couples of words, beware of this and that, take care of this, etc. Of course everytime I'm here in Metropolitan, then I work with you guys who of course have very good ears, they can hear immediately something wrong or not you tell me, it's just here(touch his brain) you think about it and you can correct it.B: All these big houses in the world, do you have any particular one house that make you feel yourself Home always?Z: That's Metropolitan. I have on my scale on my list. opera houses I put in Number One. Let's say 4 opera houses, Metropolitan, Scala in Milan, Vienna Staatsoper, Stateopera and Covent Garden. Those 4 are opera temples for me today. well I was very lucky to sing all four for me, will sing according to the contract we have, really satisfied everything.D: Let's hear some music, one more selection, let's take a listen and when you tell us about afterwards, Julian?===Video, Lucic sings ""Cortigiani,vil razza dannata" from "Rigoletto" at Dresden Semper Oper ===D: That sounds familiar, tell us. Z: Yeah, it sounds familiar. I just did Rigoletto here in Metropolitan couples of monthes ago, but this is the production from Dresden Semper Oper in Germany. This was my first Rigoletto ever.D: Is that right?Z: Yeah. and I did this production with Fabio Luisi who is now here -.D: Principal conductor.Z: Right. That was a first production together and we did Rigoletto here as well, Luisi and me. That's fine, that's good. D: Now watching that I have to ask you about the costumes. your colour of your costume, the colour of your shirt,--Z: Colour,-- F-u-c-k (they all are laughing) well I am really no surprised, maybe you are, but this is a very usual way of directing in western europe, in Germany special. Productions are very very modern sometimes too modern and sometimes completely without any sense unfortunately.D: Does it ever distract you from your task at hand ?Z: No.D: you can stay focused on ?Z: No, I focused on a text and what I have to sing on my feelings which is the most important thing. and how I am dressed, well, I have to D: not the story??Z: Yeah,B: How do you feel, like you said in Western Europe, and they often do really modern. Z: Right.B: Sometimes like you said, doesn't make any sense but why do they wanted to do that? Z: I think they want something new. D: Different?Z: Different. They think that classic traditional things are old, kitchy,-- D: pass?,Z: pass?, it's not interesting, it's boring. Well, it's not. For examples, yesterday evening production of Nabucco, it couldn't be more traditional than this. B: It's wonderful production.Z: It works. I mean my job is a singer, is to show you what I'm feeling with words with colour of my voice. not with Harley Davidson on a stage or being naked or doing whatever on the stage, so that's not the point.B: so do you think that because just they want it for the sake of change, change?Z: Yes, It's only the reason, nothing else. All have ideas of course we can talk about a new and modern idea I am nothing against it, but if it sticks to text, favella what I'm doing, if you making things up, we have nothing to talk about.D: You spoke your emotions, Do your emotions ever get in a way, you have to say now calm down and got to think about breathing here, how do you do that?Z: Huh!- Control. Control is everything, really. and the more I'm on stage, the more I can control myself. In the beginning it was very hard for me to especially I was singing Germont in La Traviata or even Sharpless in Madama Butterfly. Hearing this aria singing Madama Butterfly sings to her son in front of me when I was giving her a letter, really touching, really I was crying on the stage, I couldn't control myself, then I have to sing, that was very hard, when your noses full of --(鼻水,he means)(laughing), you can't sing of course, so you have to control your feelings, you have to make audience crying for you, if they are going to cry-D: Thinking last night, you were singing, begging for her forgiveness, but you have to, you can use the wells of experiences you have as a person to -, Z: Of course yes, because most of the time when I'm singing Rigoletto, Macbeth, Simone, these roles, I'm not dead myself, because I have kids, married, had a couple of rough situations in my life, in this vulgar period of ex-Yugoslavia etc. etc. I know what I went through. then something like that happens on the stage, I know exactly how that person how to feel and express.B: Do you think the opera singer, acting is most important one besides voice? it is very important part of it.Z: It is very important. but not the most important, so we're opera singers and we are there to sing. I always have a problem if that what I have to do on the stage is conflicted with my singing if I have to run before Aria or to jump or to do whatever or to sing with my back to the audience, never, never.B: If there is running situation like that, what do you do?Z: Well I , No, sorry, no way, because we are singers and we're there to sing, everything else should serve that our singing, nothing else, regie(German=演出), costumes, set, -D: Very well said.B: I think that go back to the old time, you said, what did they do, mostly they sing?Z: Yeah, I mean, you see the DVD, movies from 50's 60's of opera, what can you see? they go out they come out on stage, they sing very little moving, it's nothing but you'll see the richness, especially the Freddy? production before him. For some people it's kitchy, boring, it's not for me, that is opera.B: I think it's because yourself, very dramtic by singing, your emotion through your voice, so I totally agree you don't have to making a big movement or emotionally to express yourself, just by your voice I think let people hear, Z: If you are an actor, of course you have to do that, but if you are an opera singer, this is only your instrument (touching his throat) to show everything you can everything you have.B: You can feel nowadays opera houses they are looking for people who can act more in a sense, do you feel that way?Z: No. They are still looking for people who can sing.B: Of course yes, they want them to both maybe,Z: But if you are a good singer and a bad actor, we will take you,(laughing)D: Audiences is coming to hear your beautiful singing.Z: Right, to be continued to Part 4
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