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DG’s new star tenor: ‘I keep a blacklist of conductors and directors’

Piotr Beczala, the Polish tenor who is being groomed on DG as the next Richard Tauber, has been speaking out to Der Standard in Vienna.

‘Es gibt bei mir eine schwarze Liste mit Dirigenten und Regisseuren, mit denen ich nicht arbeiten möchte,’ he says, without exactly naming the black list of maestros and producers that he’ll never work with. But he gives some hints.

beczala

Does that mean he’ll never sing at Bayreuth? ‘Das ist Ihre Feststellung, ich kann das nicht bestätigen. Aber ich kann auch nicht bestätigen, dass ich dort singen werde. Wer weiß? Ich werde wahrscheinlich den Lohengrin nicht auf einem Krokodil sitzend singen. Ich habe kein Problem mit Lohengrin, wenn ich einen Schwan bekomme. Einen richtigen.’ Well, he hedges, I won’t sing Lohengrin sitting on a crocodile….

He adds: ‘Für mich haben diese Leute, die wirklich spinnen und versuchen, die Oper neu zu erfinden‘ – these people are crazy to try and reinvent opera.

Read the full interview here. If I were running English National Opera, I’d get Piotr to sing out his little list in Mikado.

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Comments

  1. “Regisseure” is in English “stage director”, not “producer”.

    • Michael Varcoe-Cocks says:

      Throughout all my 40-odd years of opera-going, the “director” or “regisseur” of an opera in the UK has normally been called the “producer”, even if “director” has been used – in English or the local language – elsewhere. It would be interesting to know if anyone knows the origin of this anomaly.

      • I think all the UK opera companies use the job title “[stage] director” in their programmes, as do most UK media in print. “Producer” is used by Opera magazine for some reason, and I’ve seen in it one or two other places (FT? Can’t remember), but it feels rather an old-fashioned terminology. I’ve never heard of anyone working in opera in the UK using the word “producer” for “director” in speech, even though we talk of “productions” (which are “directed”…).

        I’d be interested if someone from Opera magazine could clarify/justify their usage.

    • “Regisseure” is in American “stage director”, not “producer”.

      In the States, the word “producer” refers to the person (or people) who provides or assembles the funding for the project, secures the venue, arranges logistical and other matters, and is in effect the employer of all the creative and technical people working on the project. The word’s not really applicable to, or used for, not-for-profit theater and opera.

    • I was the Choir Manager/Fixer for a job in France many years ago and the contract referred to me as regisseur.

  2. harold braun says:

    Right he is! I bet the list includes a whole bunch of moronic “Regietheater”shitheads!

    • Thomas Silverbörg says:

      The Regietheater fools are deeply entrenched in the German-speaking houses, spewing their filth and perversion, destroyng the works of great composers, and humiliating art and artist. I find them to be a bunch of depraved Art-necrophiliacs, raping dead composers repeatedly, in the most cowardly and twisted way. Sue me.

  3. Mr Beczala has long been an outspoken critic of “regietheater”, a brave stance he has taken on some modern opera production.

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