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    “Rossini could only be born in Pesaro” // Dmitry Korchak about the Italian Rossini festival

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    Famous Russian tenor Dmitry Korchak performs this year at the famous Rossini festival in the Italian town of Pesaro. In Rossini’s Otello, he got the part of Rodrigo, the one who caused the conflict in Shakespeare’s tragedy. About the geographical conveniences of the festival, the complexity of his part in Othello and the reasons for the productivity of Rossini Dmitry Korchak told Vladimir Dudin.

    — You are a longtime guest in Pesaro. How interesting, universal and modern is the model of this particular festival, do you think?

    — Yes, I have been performing at the festival for over ten years, I have performed many debuted sometime in his famous Stabat Mater. Then he also sang in the “Little Solemn Mass”, there were also solo concerts. Pesaro is an unusually interesting place. In addition to the fact that Rossini was born here, it is also a very well located resort town on the Adriatic Sea. And although Rossini’s creative life was more connected with other cities: Bologna, Naples, Paris, the choice of Pesaro was an absolutely winning option for the summer festival. It has everything a tourist needs in the summer, but in addition, there are several significant festivals within a car: Salzburg, Arena di Verona, Bregenz, Macerata and many others, which is very helpful for opera lovers in a logistical sense. And for young artists, a definite plus is the opportunity to show themselves to all directors responsible for casting artists, and agents who are sure to come to premiere performances.

    — But the festival is already over 40 years. Does its concept change over the years?

    — The concept is absolutely precise and does not allow to significantly deviate from its idea – the Rossini Music Festival. After the departure of Alberto Zedda, the reins of power were transferred to Ernesto Palacio, a magnificent tenor, agent and connoisseur of Rossini’s work, and he continues to strengthen the local traditions. Two operas are invariably staged, one production may be repeated from previous seasons, but always with a new cast of performers. Each year the titles of operas vary, and given the huge number of operas that Rossini wrote, these are sometimes rare titles, and even a replay of such a performance is still a very valuable event, especially since few visitors saw it in the previous performance. There is also the Rossini Academy, created to train young singers who undergo practice, lectures, individual lessons with teachers, master classes, concerts and always participate in the production of the opera Journey to Reims. And then many students become participants in the main program of the festival.

    — What does the festival show this summer?

    — This year there are two new productions of major operas, Le Comte Ory and Othello, and the newspaper is being renewed. A special event will be the final concert of the festival participants in honor of the famous opera director Pier Luigi Pizzi, who is very loved and respected at the festival, as well as throughout Italy.

    — How do you work with Rosetta Cucchi, who is staging Othello?

    — Rosetta Cucchi is a director with whom singers look forward to working, and this is in modern opera directing still a rarity. It turned out that it is always easy to agree with a person who penetrates so deeply into the musical material, who understands what is inherent in music, to understand his point of view, based on the mirror effect, variability and the search for different colors of the same sound.

    The difficulty with Othello is that there are six tenor parts in this opera, three of which are the main ones, and the director must make each of these three different. Othello is the most understandable character, but the voice required to perform this part is unique, there is a tessitura of about three octaves. Iago is also understandable in character: a cruel intriguer. Rodrigo’s part is more romantic, but also incredibly complex, one of the most difficult among those with which I have ever dealt – very high, dynamic and virtuoso. In this performance, in order to find the necessary contrast, we added notes of confusion, uncertainty, confusion, and in some moments, rudeness arising from psychological instability and helplessness, fear and at the same time desire to the image of the character. All these facets of the characters play in the performance thanks to the element of competition spelled out in the score itself.

    — What is the main secret of Rossini’s music and, for that matter, high Rossini’s creative productivity?

    — He loved life, knew how to live and enjoy it. Rossini composed with ease and often used excerpts from already written operas in new works. At the same time, we should not forget that all 39 operas were written by him before the age of 37, then he put down his pen and did not write operas until the end of his life … It seems to me that everyone who comes to Italy and looks at the Rossini festival will understand the atmosphere this place. Rossini could only have been born in Pesaro, no other person could have been born here. Everything here is full of light, sun, sea, delicious food, beaches, mountains, cultural values, historical sights. Each stone has a thousand-year history. Theaters in every village. It seems to me that genetically it lays in the nature of people a similar attitude to life.

    full version Kommersant.ru/13316

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