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Interview with Mr. Teodor Ilincai

Friday, 14 February 2014 , ora 8.02
 
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We are here, tonight, with Mr. Teodor Ilincai, tenor in a beautiful performance at the Opera House in Paris. What is it about?

It is Giaccomo Puccini's Madama Butterfly, directed by the famous Robert Wilson. It is a repeated performance. It is performed at the Bastille Opera House and at other opera houses too, but I know, for certain, that it has been performed here many times, as well.


Regarding the cast, do you have an interesting troupe?

I have a very interesting troupe. Before I arrived here, I was pleased to find out that Gabriele Viviani would be Sharpless. My artistic history is someway wedded to his, because he was the baritone with whom I sang for the first time at the Royal Opera House, in La Boheme and whom I reencountered last year in the same beautiful production at the Royal Opera House. I am glad that we are colleagues here, as well. The others are, also, much appreciated artists. Svetla Vassileva, the Bulgarian soprano will interpret the part of Cio-Cio San. It is a pleasant surprise that our dear Romanian Cornelia Oncioiu will perform the part of Suzuki. There is also Goro, interpreted by Carlo Bosi, a very nice Italian who has been part of this production many times before. The performance will develop under the artistic leading of the Italian conductor Daniele Callegari.


It is indeed an interesting troupe! But coming back to the production, from a directing point of view, where would you place it?

From what I could observe and read about Robert Wilson, it is a quite special directorial production. I have not met him and I have not yet been acquainted with his productions. He focuses more on the interpreter's body, since he is actually a theatre/stage director. Everything is designed by actors and, in our case, by vocalists. The entire production is designed with the body, the arms and the posture of the body on stage.


Are you also helped by the set?

The set is highly minimalistic, it is very simple. From this point of view, we are slightly disadvantaged because we are not backed up in terms of voice, in order to be better projected. Having a set in the background helps you to take more control of your voice. Unfortunately, now, we are not getting so much help. Everything is minimized, everything is designed, and everything is similar to dancing.


After this stop in Paris, what follows in your agenda, Mr. Teodor Ilincai?

Next, I will perform in La Boheme at Carlo Felice Opera Theatre in Genoa, then, again in La Boheme at the Opera House in Munich, where I will be in the pleasant company of three more Romanians, so we will be four Romanians on stage. Practically, we will be three Romanians and a half because the baritone who interprets the part of Marcelo is half Hungarian.


Who are the four artists?

Besides me, there will be Anita Hartig, performing the part of Mimi, Laura Tatulescu, perform laying the part of Musetta and also a boy. I am sorry I forgot his name because he is young and he is at the beginning of his career. I do not remember his name right now but he is enrolled in the Opera Studio programme in Munich.


When will this performance take place?

These performances, as they are three in number, will take place in May.


Thank you!



Irina Hasnas
Translated by Petronela Morosanu and Elena Daniela Radu
MTTLC, The University of Bucharest