Asmik has recently completed the plans for the next three seasons, and includes five of the world's major opera theaters: Milan La Scala, London Covent Garden, Metropolitan New York, Paris Bastille Opera and Staadsopera in Vienna.
" I never had the purpose of singing on the biggest scenes in the world, "she says, talking about her latest, most recent and awesome grandiose work. According to Asmik himself, much of her life has been replaced by the death of her dad, around which the clock of her life revolves around.
In the past, she did not matter to different scenes, today she admits to thinking that her and her other achievements are important to her parents, famous opera soloists According to Asmik, it was quite different from those who appeared at the most prominent theaters in the world during their peak.
– The last time the viewers saw you on the stage of the Congress Center of Vilnius last spring. What are the most memorable works of the past year, what events?
– My life is still going to be divorced until and after the dying father. Two years have passed, and I'll tell you what I remember best through them. Of course, one of the most memorable and most complicated works was the "Triptych" by G. Puccini in Rome – three single-act operas where I sang Georgette Apsiauste and Angelica "Sister Angelica".
It was so that when my dad was extant, I was rehearsing in Rome, I realized that I was very bad, I loaded suitcases, I said that I am sorry, but I'm leaving, I do not know when / will I return and I will return in general …. When I flew to Yerevan, my dad came out the same day.
After dad I went to the St. Mary's theater in St. Petersburg, where I sang Otele with Kristian Benedikt. This performance is something that I almost do not remember on the one hand, and on the other hand, I concentrated on it most. It happened a week after the death of my dad and I was very afraid that I would not be emotionally and I would break somewhere like, for example, through the duet we had been singing with our dad many times.
However, when you sing a button starts and you manage to control it, while I sing, but I will never forget … When I'm DezDemo, I've died, Otto's aria began, I remember singing Vaida, and then I broke. I thought I would not go out, but in the final, Vaidas hugged me so hard and it seemed to me that it was time to endless while I was kept in the cloak, because I was able to calm down and went out to bow. I remember that "Otel" very much.
Then I immediately returned to Rome, finished rehearsing and sang all the performances. It was also very difficult because both operas are about the death of a child, and at that time I was still in the sixth month of pregnancy. Of course, in the archives, this will probably remain one of my most powerful works, because everyone crying, even colleagues behind the scene. These performances had a very strong energy, but so far I can not take this record and see how I have not yet been able to open some of my dad which are at my home … Maybe the next time I'm going to Rome, I will ask for it
Thereafter, after the birth of Leo, the opera Voceka at the Amsterdam Concertgebouw, as well as the Salzburg Festival and the Norwegian National Opera, went live. Directed by Christof Loy Fedora and Manon Lesko in Sweden, Tatyana Eugene Onegine at the Moscow Grand Theater and in Vysbaden.
Photo by private album / Asmig Grigorian with Dad Gehamu
– In your career since the first building in 2013 In Cologne, A. Berga "Vocekas" has acquired a special place. What is this special work for you? What is the special role of Mari?
– This is one of my first works on the world stage. I was especially fortunate because Cologne was a very, very strong team and all the work left a huge, deeply emotional imprint in my heart. Today I just met with the first Voceku. I've got this relationship with people who you know will stay forever.
The Voceko opera is fatal in my life – last summer I was debuting it at the Salzburg Festival, which was a certain new step in my career. Although I've been singing in the four buildings of this opera, they are all radically different.
O Mari, I could not go too far. My personal personality as a singer is that I make each role in some way, transforming myself and they are all dear to me in my own way. However, this does not mean that they are all the same. Every building always provokes to be different and different, giving new circumstances. In addition, this is not me, it's not my life.
This is what I am as I could be in that situation. If you play the role of a prostitute or a murderer and say that you are in every role, people misunderstand you and begin to identify with all the world's prostitutes or murderers. After all, it's just my great imagination.
Sigismund Gedwil / Photo of 15min / Asmig Grigorian
– You sing in Sweden in the new building of Mancon Lesko of Puccini. How did your role of Manon grow from the first one created with VCO?
– I would say, cardinal. I think that the role of the vocals is very strong. When I made the Manon Lesko in VCO with VCO, creating this role was one of the most difficult stages of life that brought me to the point of breaking.
Then six years ago, I felt that I had a professional bottom where there were two ways: easy but very Quickly leading to destruction, moving towards a more dramatic, lower-voiced repertoire, because it made me hard to sing high notes, or the other one stop and agree with the idea that I have to start again and not give up.
I did that myself, determined to do the operation in Berlin . Since then I began to work very hard with my technique and body. As long as you are young, you are driven by the physical power given by nature, the courage, but the moment comes when this force is shrinking and you are forced to change something in your life.
Therefore, Manon will always be the role that made me change. Mostly it has improved the vocals, because during these few years I am very happy and I really know that I have made great strides in terms of quality of singing.
– This summer you are returning to the Salzburg Festival to sing "Salomėja". You will be able to play the true role of the vocal Olympus. How are you going? What is your Salome? What challenges do you face?
– I began to prepare Salomij early enough. In fact, we are already working with the conductor all year round. I just had to go to Vienna for the same purpose. Salomea is definitely an extremely important role to play in preparing your body. I now try to pick up all the role much earlier, say a year ago, and start it a few times to remember the muscle. If you've just learned the work going to the building, it's a very tired voice because you are singing a lot at the time of the installation, and if your muscles do not know this material, they usually get caught.
I'm very, very happy about this role. As far as I had to look at various materials, I think my Salomėja will be a bit different. And what – I do not want to issue. As in all the negative roles, I was able to find in it a lot of light and reasons for everything …
And by the summer I have two new buildings! Tamara A. Rubinstein's Demon at the Concertgebouw in Gran Teatre del Liceu and Chrisotemis at R. Schtrauss in Elektra, Amsterdam. This year, I have to learn a lot of new roles, and although Tamara, who has played with Dimitrij Chvorostovsky several times a couple of years ago, I think it will take time to remember.
– Three of the coming seasons are waiting for you in the five major world opera stages – London Covent Garden, Milan La Scala, New York Metropolitan, Vienna National Opera and the Paris Opera Bastille. Absolutely awesome success! What role will you play?
– In Milan, I will sing in E. Korngold's "Dead City", in London and Paris – the main Jenuf party at Jenachen's "Jenufa", while New York's three buildings are waiting for New York: R. Schtrauss's "Salome", G Puccini's Madam Butterfly and the new premiere of K. Weill's "Mahogany City Rise and Fall". Also, I'm going to Teatro Real in Madrid, Spain, where I will perform Undina in A. Dvořák's "Undery".
– What do you personally mean singing on three of the world's greatest scenes?
– I never I did not have the purpose to sing in the world's biggest scenes. Perhaps because I was in all of them from my childhood when I was traveling with my dad with my mother and, therefore, I had never had any desperate goal to be there until my father drove up. When he came out, somehow I got a lot of other things that mattered, and singing on these big scenes got a different meaning. I know that my parents are extremely important and very good to know that I will be there, to hear and see me there. I believe that the dad is somewhere proud of it.
When I went 30, I started taking care of my singing very seriously, it made me much more important than it was before. Particularly important to me was this after the death of my dad, because I realized that today there is a huge problem in the opera, because its real school is already dead and there are only a few of its contemporary singers. I have set a certain goal to master this old technique, and every new achievement that comes to me in some way means, in some way, that I am moving in the right direction, that my progress is getting better, improving and making me absolutely happy.
Photo by Rook Baltakis / Asmig Grigorian
– What do you think has led your journey to these scenes? What was the most important thing on this long journey towards them?
– Exactly great work. If anyone imagines how much I am working on, this would not be the case. I work very much. And not only in the sense that I constantly sing many performances. I work very, very much, as I invest heavily in improving my singing, in the preparation of roles, including language learning, and even work on my body, and so on.
Everything was important in the journey, and those details a lot. I met the wrong people, there were a lot of amazingly beautiful people – they all left a very big imprint in my life. Of course, the support of lovely people is always very important. Equally important is any experience, even if it is negative. I think, first of all, I got a lot of experience like an actress. Today, people are out of sight. And everything came with life experience, which I certainly will never want to give up.
There are quicker ways to reach a career in participating in contests, programs, studios near major theaters, like Covent Garden, because they immediately notice you there. I did not have this opportunity because I was growing a little child and I always needed to work. My way was really long, but apparently the way it should have been. But today I am where I am. It's not so difficult to get into the big scenes – it's much more difficult to survive in them, and when you hit yourself with such a high cartel, it's more difficult to keep it.
What makes me happy on this journey is that all of these theaters chose me, because they Everyone knows my work and wanted me to be a man who can raise certain limits. It is very important. It's not so hard to sing in all these theaters. It is very important to be yourself and to do something in them that nobody has done yet. All this in the future, and I hope that I will succeed. The journey was much longer, but it was endlessly worthwhile, because I have two wonderful children and I managed to reveal both the mother and the singer who has reached enough.
– Who in your life were and are creative inspirations, promoters?
– Oh, it's very much affected. Originally, my parents, who were very big inspirations, were among the greatest singers in the world – the level I have been pursuing so far. Later, it is known that the directors and musicians will meet. For many years I've mentioned that my first director was Jonathan Miller and he somehow managed to get me, somewhat dumb, not knowing what I am engaged in, to show that other opera.
Then I met Dalias in my life ( Dalia Ibelhauptaitė – red. ), which would require a separate article, perhaps even a book to write. After so many years, she is not my employer and not the director, but one of my closest friends. I could talk about Dalias for hours. Of course, Dalia was one of my greatest inspirations. Very much in my career I made Andrei Žagarsas, in whose theater I created a lot of roles, as a young singer, I sang a lot, I improved and really thanked him a lot. Gintaras Rinkevičius, who always supported me, even when he was in some sort of failure, he always supported me by 100 percent.
Photo by D.Matvejev / Vasily Barchatov, Dalia Ibelhauptaitė, Asmik Grigorian
I am from such artists who do not use tactics when you bring a pistol to your head and work is done through coercion. Since childhood, the only way I could push forward was support, trust, and faith in me. I really met a lot of people who believed in me and they were my raft.
– You had to sing a lot everywhere – in small and large theaters, in traditional and modern buildings. How to withstand high tension, hard work and how to keep yourself? What's the most important thing to achieve your dream?
– Actually, I've been singing in just a few classical productions and today it's hard to be in them, at least for me, because I feel so silly there. In order to create such a classical performance, a contemporary singer's rehearsal period should take no more than two months, and two years to master the other manners: how old people moved, how they spoke, how they ate. It's radically different from what we are. Therefore, these classical buildings are funny for me, because there I see a modern man drawn into a cake.
Due to the tension, here, apparently, is a very individual thing. I have always been very complacent about this. From my childhood, Čiurlionis gymnasium, I remember every exam and the way I felt: I was at a temperature, abdominal pain, vomiting – whoever wants to. It was endless stress. When I started singing, I never made a small role – I started from the most difficult ones, and it was also an overwhelming stress.
It even came to life in my life that I thought I would never go to the scene because of this reason, because these nerves and seizures enter into memory. If you make a mistake once, it will repeat itself in the same place, and then continue to perform in other performances. This is a very serious problem and I think that all talented people have it.
My only dream is that my children are healthy and happy, and the people I love as long as possible will be healthy and with me. .
The only thing that helps me cure is knowing a thousand percent of what you are doing. Of course, every singer has his own way. I started practicing yoga, as well as doing various breathing exercises. You have to take care of your body, because our apparatus is in our body, just like our nerves, and in order to have everything in order, there must be a certain balance.
There must be a normal quality of life, so that you do not have the wrong people who will annoy you. Emotional stability begins in our personal lives and when it is stable, then you are different at work. And in order to achieve your dream, it's important to remember to remain a human being.
What are your dreams in life?
My only dream is for my children to be healthy and happy, and the people I love will be as healthy as possible for me as long as possible with me. And everything else is changing and changing – it's fun that changes. Maybe it's funny to say about … centuries in my age, but I just love to watch the change, watch and not forget to thank. I always feel that the world of me ( universe, God – as you may be invisible ) loves very much.
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] – It's unbelievable that you will find premieres with the Vilnius City Opera in the next five biggest world theaters. Here's a big surprise to the audience – not only your Liza P. Chaikovsky's "Pikki Damė" but also your mother, Irena Milkevičiūtė's debut in the role of Grafienė. This is the second time you both mother and I will appear in one building ( before, Asmik and her mother sang "Onegin" Bohemian – red ). What feelings do you get when you play with your mother in a performance?
– To be with mom on stage, for me – it's always a very special moment. I think it's a little funny because it's exciting for me, and I'm for it. There is always such a double excitement. Basically, this alignment when you understand where to improve. It's always fun with my mother to be on the stage, and I'd like to be more likely to be there. It is in the productions. Concerts are concerts, and in the performances I really want to see mom now. There are many roles that she can sing in her age and she can sing perfectly.
Dmitry Matveyev's photo / Opera "Eugene Onegin"
I always try my mother to call Of course, if you've been playing a major role throughout your life, you probably have come to terms with your age and realize that if you still want to be on the stage, you might need to change those roles to smaller ones (which, I think, are really endless and interesting), a rather complicated moment. 19659002] After all, there are many years of needing roles that she can sing, so I would love to talk to her, all of them ready. Then talk not only about Lithuania. That would be one of my wishes, because I think that she might still have a very big journey on such a repertoire. I am very, very much waiting for it.