Hvorostovsky - interview in Russian (part 2 of 3)

[melunia100]

Piesni wajennych let moje ulubione i mojego baćki !

[melunia100]

Dima charoszyj muzczyna  te siwe włosy bardzo mu pasują do ciemnych oczu i oprawy.A głos wspaniały abiezatelno/WSIEWO CHAROSZEW0 DIMA !!!

[melunia100]

Super MEN ;)) Cudowny głos!!!

[Makalyashka]

Он такой импозантный мужчина! Мне понравилось интервью, Хворостовский открылся для меня с новой стороны! Спасибо Вам за видео!

[natashkk]

Translation for second part.

I will do the rest tomorrow.

Hope your enjoyed it!

[threecardmontegirl]

thanks for the translation natashkk! I am now trying not to drool all over the computer,he's soooo sexy!

[natashkk]

Interviewer: You haven't sung at the Bolshoy yet, but you have promised that that day will come when you finally will step into the stage of the Bolshoy theatre.

[natashkk]

Dmitry: Yes, for the moment it hasn't happened but I hope that in the near future this will happen, and I will do it with pleasure...

Interviewer: I think that this is meant to happen...

Dmitry: Maybe... maybe...

Interviewer: Did it happen to you that, for example, you sign a contract, start rehearsing and the director creates a staging which, for you, is completely unbearable, and you have to work under these conditions...

[natashkk]

Dmitry: Well, I think that directors are also people and you can always come to an agreement with them...

Interviewer: But how? Can you come to an agreement on the fact that he has to take away completely his original context?

Dmitry: Of course! I already can do everything! I already worked under such conditions and I am not afraid of anything.

[natashkk]

On the other hand, when you find yourself under such conditions, it becomes real interesting for your acting, hehehe! Completely unimaginable things, really not similar to anything else and hence very interesting and you have to work for them, the result is not important, though. In principle, we are not there for the result. I don't work any more only for the result!

Interviewer: The most important thing is the process, isn't it?

[natashkk]

Dmitry: Yes, the process in which you are fighting and insulting, destroying... and even sometimes you get upset! It is not very common, but sometimes you get upset... this is really a unique thing.

Interviewer: Did it already come to your mind to leave the opera world?

Dmitry: It did, it does and probably this possibility will still exist. In principle, I can claim to have enough stage experience as to organize, for example, performances in the Conservatory or to work with young students

[natashkk]

I have already done some masterclasses, but very few of them, and given the fact that you cannot influence in the technical vocal part of these students or whoever want to sing...

Interviewer: What do you mean that you cannot influence?? If you are doing a masterclass, don't you explain them how...?

Dmitry: Their pedagogue will be sitting next to him in the classroom and he will start saying the opposite thing! Because these things are very delicate

[natashkk]

That is why you have to approach these things in an extremely careful manner and try not to have an influence, not to disturb them. So, therefore, what can you tell them? You can speak to them about the expression, about the phrasing, about the musical part, etc. And, as a rule, when you start explaining things with elements of the theatre, about the plasticity of it, then the results come quicker and easier than if you try to explain them with scientific terms about phrasing

[natashkk]

It's easier to speak about, for example, a flower, a wave, the wind, the sun, the clouds... all these things help.

Interviewer: So different ideas...

Dmitry: Of course, it works, as with children. This relaxes. The students are extremely stiff in front of you. I took this from my own pedagogue, as she did this, not only with me but with everybody. And to me it also happened for when the sun came out of the clouds I was very happy, but when this didn't happen I was stiff.

[natashkk]

You can even feel it in your fingers, for example, if you are playing the piano, when they are stiff. Out of this stiffness, the results are visible. And sometimes these results aren't up to their maximum. For this reason, when there is complete concentration, then there is greater depth in your work and the result, everything that you do on stage, depends on these basic organic things.

[natashkk]

Interviewer: When you started singing this programme with songs from the war, I remember you said that this was going to be one unique concert. Then from this unique concert it was performed in another hall...

Dmitry: They obliged me to do it!! Hahaha!

Interviewer: The obliged you to??

[natashkk]

Dmitry: They did! And they put me these conditions...

Interviewer: Who obliged you to?

Dmitry: Life! To receive this little part of adrenaline from this huge, enormous, mass of people, who are looking at you in this stadium or in an open hall was as I was sitting in an igloo...

[natashkk]

Interviewer: I was at this concert where you sang war songs. When you sing them, do you have the feeling that you are a person of that period, or do you consider yourself a today person who knows something about the war and about these years and who is capable of transferring this atmosphere or do you have the complete feeling that you are only genetically from that period.

[natashkk]

Dmitry: I think that genetically we are all from that period. These songs have a specific code, which carries a certain kind of culture belonging to the war period. No other country has something like this.

Interviewer: And in this kind of concerts, the voice suffers? You are a very careful person who keeps its voice...

[natashkk]

Dmitry: Of course, it suffers. In general, to sing with a microphone works horribly with the technique of an opera singer. For half the middle of the public is okay, but to sit in the second row (???????) is completely impossible. For this reason, is quite dangerous. Although other singers, such as Pavarotti or Domingo, have already sung in this kind of recitals, but not that often... not that often

[natashkk]

Interviewer: A question about Pavarotti. For you, he was a hero, an idol, you even haven't thought about singing with him one day. Then you met him and I am trying to understand how this approaching to this person, about your admiration for him...

Dmitry: My admiration for him never disappeared and will never disappear. I sung with him just for a little time, long ago, when I was just starting and when he was the best singer on earth!

[natashkk]

Even though he still sang until his last days and he sang incredibly. When he opened his mouth, the eyes were completely wide open and when he finished singing a complete joy would appear about the fact that he could do it. That's why he had this huge open smile at the end of every piece his sang, when he would open his arms and be happy, like a child, as if it were the first time in his life, as if all this had already finished.

[natashkk]

Even though he still sang until his last days and he sang incredibly. When he opened his mouth, the eyes were completely wide open and when he finished singing a complete joy would appear about the fact that he could do it. That's why he had this huge open smile at the end of every piece his sang, when he would open his arms and be happy, like a child, as if it were the first time in his life, as if all this had already finished.

[Diotima555]

Is he talking about his voice teachers and what they taught him at school ? Please, anyone could translate ? Thank you !!! Merci !