An interview with a conductor, Honored Artist of Russia, Artistic Director of Opera and Ballet Theatre named after Al. Spendiarian, Konstantin Orbelyan.
– Maestro, the questions that we are going to ask you are coming first of all from the interest of Armenian musicians, your colleagues. Today, the repertoire of the National Opera Theatre include only the works of one or two Armenian classical authors (Tigranyan’s “Anush” and “Davit Bek”, Chukhajyan’s “Arshak II”, Al. Harutyunyan’s “Sayat-Nova”, from ballet performances – Khachaturian’s “Spartacus ” and “Gayane”). No large-scale work by any contemporary composer was staged. While, in the past, the repertoire covered wonderful ballets, including senior Orbelian’s “Immortality”, Ed. Hovannisian’s “Homeless”, Grigor Yeghiazaryan’s “Ara the Beautiful and Semiramis” and so on. Definite, it is possible to restore some of them.
– This anxiety was to be in the past, let’s say, some 20 years ago. I am appointed to this position lately. As for your observation, I fully agree. We’ve already started to work and you need to watch all opera and ballet performances available in the repertoire, as a result, some performances could be found which will be just closed. Yes, the work of an Armenian contemporary composer should be staged in our theater but it certainly requires time. I personally believe that today’s audience and perhaps the soloists in the first place need the operas of Rossini, Mozart and other composers, like “The Barber of Seville”, which was staged probably 40 years ago, is no long ago on the list. In the whole world, the young opera singers are growing by these performances. As for the restoration of the performances, I specifically apply to the audiences, my dear, the restoration is equivalent to a new performance. I’m not in a hurry, which does not mean a slowdown process. Your observations, by the way, are considered in our programs. Moreover, gala concerts will also be included in the seasonal program with an aim to present the spectators extracts from the best samples of the world opera and ballet literature.
– The last opera for children at the National Opera Theatre Opera was staged in the early 1980s, it was Stepan Jrbashyan’s “Gikor”…
– I have to again remind you that I am very new here. Opera and ballet performances for children, no doubt, are mandatory.
– Will the Theater have a chief conductor in the near future?
– Probably, yes.
– The musicians beyond the Opera Theatre have always expressed an opinion whether 55 soloists in the staff are not many for the Theater?
– These musicians could have thought about how to support the Theater to enrich the repertoire, at least with advice, which is accepted in the West. While I think that maybe 55 soloists will not be sufficient for the repertory performances of the Theater… They all cannot be prima or premium singers but they have wonderful voices. I address my words not to the professionals but the audience, you are welcome to the gala concert on October 8 to enjoy the orchestra and chorus of the Theater with participation of Hasmik Torosyan, Marine Deinyan, Lilit Hakobyan, Gevorg Hakobyan …. I will conduct the concert myself.
– People say that you are going to invite musicians of different backgrounds from abroad, including concertmasters. Are there high-class concertmasters in our theater?
– Yes, I will also invite concertmasters, for example, from the Bolshoi Theater. Of course, there are also high-class concertmasters here but the latter are good pianists, the concertmaster must also pass a “school”, which is mandatory for cooperating with the singers. I will invite the UK-recognized choir master Stephen Harris and other professionals also famous in other theaters, such as from San Francisco Opera, or John Fisher from the New York Metropolitan Opera who currently is the deputy general director of this Theatre… Incidentally, at his invitation, these days I’ll leave to watch Wagner’s “Tristan und Isolde” opera. Such visits are required for the head musicians, even for obtaining new agreements in place …
– Incidentally, you are also the artistic director and chief conductor of the Lithuanian State Symphony Orchestra. How do you imagine combining 2 management positions? Certainly, we know that there are musicians in recent years who simultaneously are the leaders of not only the orchestra but also artistic directors of opera theaters.
– My presence in this season, for example, in Lithuania was necessary only 5 times. These are concerts scheduled in advance one or more years ago…
– Recently, you had a concert in Copenhagen with Dmitri Hvorostovsky… As the “Opera news” reported, you are the desired partner of opera singers…
– Yes, it was. As for the cooperation with Hvorostovsky, it happens frequently. Our creative ties are set up long ago. For example, my first movie work was the film “Renee Fleming and Dmitri Hvorostovsky. An odyssey in St. Petersburg”, which was full of opera scenes and arias. Recently, there was a CD presentation of truly brilliant opera singer, the late friend of mine, Gegham Grigoryan’s daughter, Hasmik Grigoryan and Hvorostovsky. I was a close friend of Gegham. Currently, I am working with him and his wife Irena Milkeviciute… Let me first publish it and then talk about it.
Interviewed by Samvel DANIELYAN,
“Aravot” daily on 24.09.2016.
