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John Malveaux
The Arts Desk Q&A
Monday, 07 April 2014
Monday, 07 April 2014
DAVID NICE: I don’t know how you’ve felt about that Cardiff performance since, but it seemed close to perfect to me.
NICOLE
CABELL: I appreciate that – it’s an incredible compliment. It’s funny
because we singers reckon hell will freeze over before we win something
like that, and now I look at it and think, there’s a million things I
did wrong and could do better now. Of course I guess if I got to the
point where I didn’t see a flaw in my voice I should probably retire.
So how in your perception has the voice matured since then?
It has been a long time. There are certainly things in the Mozart
performances which strike me when I see it, because I hadn’t sung a
complete Mozart opera at all up to that point, I’d never even performed
any of Ilia’s arias [from Idomeneo]. And 2006 was my first Pamina [in The Magic Flute]
at Palm Beach, Florida: I learned through the course of that how to
approach Mozart. Otherwise, stylistically things have changed a lot. In
terms of the voice, my middle range is developing, and the sound is
getting a little bit fuller, and this is the direction I wanted to go in
then. But we’re almost 10 years on, and I’m singing some repertoire
which is a little bit more reflective of that, so Mimì's coming up [in
Puccini’s La Bohème].
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