Other Links
Editorial Board
- Editor - Bill Kenny
- London Editor-Melanie Eskenazi
- Founder - Len Mullenger
Google Site Search
SEEN
AND HEARD INTERVIEW
A New Voice from the Ardèche Mountains
:
Bettina Mara
interviews the French tenor Sébastien
Guèze (BM)
Young French tenor S
Sébastien
Guèze as Marius in
Vladimir Cosma’s Marius & Fanny
How did you decide to become a singer – were there any musicians
in your family?
There weren’t really any musicians in my family, although I often
heard my grandfather and father sing - just for fun, but they both
had fine voices.
So actually, it was more or less a coincidence! I spent my entire
childhood in the mountains of southern France (my hometown in
Vernoux-en-Vivarais) - not exactly a place where one has a great
deal of access to classical music. Nevertheless, while at high
school, I discovered that my voice was ideal for imitating
commercials including excerpts from operas. At the same time, I
was involved in quite a few extra-curricular sports activities,
but none of them were really right for me. Then, when it was time
to go to university, I took off to study in the “big city” (Nîmes),
and since everyone had told me “you should try!” I enrolled at the
Conservatory (as a student of Daniel Salas) and I tried – and it
was love at first sight from the very first note. I had finally
found my calling! Naturally it was out of the question that I devote my entire time
to music, so I continued my commercial studies and earned a
Masters degree in Montpellier, and then applied to the
Conservatoire National Supérieur de Musique in Paris, from which I
graduated just over a year ago.
Are there any teachers or singers who have inspired you in
particular?
There are many! Above all those who helped me discover opera for
the first time with the recording of the Three Tenors at the World
Cup in Los Angeles: Pavarotti, Carreras and Domingo. And of course
artists like Corelli, Del Monaco, and Wunderlich as well as the
current generation: Alagna, Shicoff and Villazon.
How did you happen to be recruited to sing in Athens – did you
know Stefanos Lazaridis (former GNO artistic director)?
It was my
agent who knew that GNO were looking to recruit a young tenor for
their new production of La Bohème,
because Graham Vick asked Stefanos
Lazaridis for a young cast. But then, unfortunately, I wasn’t free
to come to Athens for an audition. So I imagine that my
agent told them: trust me, you won’t be disappointed! And I hope
they weren’t.
I should think not! What was it like to work with Graham Vick? And
the Greek members of the cast of La Bohème in Athens?
Absolutely fantastic! The atmosphere was great, very healthy and
committed. No envy, no capricious moods, no temper tantrums, just
hard work and high quality – full stop. Our conductor, Loukas
Karytinos, provided us with exceptional music! And Graham Vick, is
an accomplished “craftsman” who allowed us to improvise within the
framework of his intentions.
What I mean by this is: if your character prompts you to make a
certain gesture, then that is because it is the right gesture.
Then there is the context of the scene and Graham’s concept to
consider, and he will help you to find another direction to go in
if your initial suggestion doesn’t suit him, but that direction
will always be based on your character and its underlying truth -
your lines, that is, the text itself!
Did
you identify with the character Rodolfo to a certain extent? You
seemed very much at ease – was this your debut in this role?
It certainly was, and I have to say that I fell in love with my
role. I can’t say I was really all that much at ease, but I
definitely identified with the character. Just as Murger depicts
La Bohème in his novellas, I am a Parisian, too, I live under the
rooftops of Paris and I often get together with others for long
evenings with friends – so clearly Rodolfo is no stranger to me!
How
do you prepare a new role? Some artists like to listen to
recordings, others prefer to stick to the score and figure out
their own approach, I’ve been told.
I would say it is a combination of both. From a purely vocal point
of view, I like to listen to what others have done and learn from
them. With a view to expression, I like to set out in search of my
own vision by myself with my score.
Which other roles would you like to sing in future?
Roles that appeal to me are in general those that are interesting
from a psychological point of view. This is because the one thing
I like most about opera is acting. So obviously, there is
Hoffmann, Werther, Otello... but, alas, as to the latter, not for
a long time yet, if at all! In the mean time, I would be keen to
do Alfredo and Nemorino... And finally, for the sheer pleasure of
singing: Calaf!
What is your opinion of singing competitions?
The trouble is perhaps that sometimes a jury’s decision can be a
bit surprising, but on the other hand the good thing is that the
audience is always the ultimate judge – fortunately for us, they
always have the last word!
Besides, a competition can provide some welcome publicity – and I
am a case in point. No one had ever heard of me, and then in 2006
I won second prize and the audience’s prize at the Operalia –
Placido Domingo competition and was offered my first engagements!
What is your favorite kind of music?
Although I do have a slight preference for the romantic and
post-romantic period, I have to say that what moves me most is
when music comes from the soul, when it is interpreted with
emotion, when it vibrates! When this happens, then I can feel
passionate about any kind of music.
How do you feel about contemporary music? Many artists seem to
hesitate to approach new roles that are difficult to learn and
which they may never be asked to sing again – how did you
experience Vladimir Cosma’s “Marius & Fanny”?
It was a very special experience. I knew of Cosma’s intention to
write a score along the lines of his films – which was quite
reassuring, since contemporary operas tend to treat voices in a
highly erratic fashion. However, when I received the score I
realized that the music was no less difficult for other reasons:
Marius is always on stage singing very long phrases, which makes
his a very physical role! I then met with Cosma, who told me that
he would consider any change I wished. This allowed me to create
ossia passages as I pleased and according to what I felt was
necessary to make the character of Marius come to life.
You are about to appear in Lalo’s “Le Roi d'Ys” in Belgium – an
opera which is unfortunately not particularly well-known
outside the French-speaking world.
Yes, the production has just opened in Liège. Clearly, this is a
work which puts the music before theatrical effects! In other
words, we will hardly be moving all over the stage most of the
time. There are quite a few scenes involving multitudes and hence
conveying a more or less static peplos effect, and the challenge
here is to be bold enough to emphasize certain lines and
characters - not something that always works, but that doesn’t
mean it’s not worth at least giving it a shot!
Are you still working with the other members of the “Africa Trio”?
Was this ensemble formed for a tour to South Africa – and what
kind of music do you make together?
Yes, that is how it was founded. The idea was to promote music in
places where it is not often performed, and this has given birth
to a wonderful friendship. Our goal is to make music – and the
important thing is that anything goes, we try out new
combinations, styles, staging ideas…In my opinion the setting of a
conventional concert is often like a strait-jacket, whereas at
times - and we do this often with the trio - I like to indulge my
imagination, the best way to liberate music and make it more
accessible!
What do you like most about your profession – and what do like
least about it?
I’m only just starting out, but already I think I can say that I am fascinated by how many interesting people I have met through my work. There always seems to be someone new who will come along and invite you to look at your art from a different perspective – and that is tremendous!
The disadvantage is linked to one of the advantages: travel!
Traveling is fine, but discovering and sharing things with
together with someone else is better! So I reckon the secret to
avoiding loneliness is to travel in good company:)
I can’t help hoping that his travels will bring him back to
Athens, though it will not be for lack of other attractive offers
(watch out for him in Paris this June in Berlioz’s Requiem under
Sir Colin Davis) and I would love to be there for his debut as
Calaf, whenever that may be!
Bettina Mara
More at: www.sebastiengueze.com