COVER,
Magazine, June 1985
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by
Peter Kupfer - English
translation: © Maria Kozlova
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Interview
José Carreras
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He
is the greatest tenor of the world for one, and second or third bestfor
others who prefer to him Placido Domingo or Luciano Pavarotti. However,
for almost all he is undoubtedly the most beautiful opera hero.The Barcelona
born 37-year-old opera hero is busy working for over ten years. This alone
is unusual enough. "Since I started very young, I am now an old stager,"
jokes Carreras. After he and Leonard Bernstein recorded the West Side Story
in New York, the maestro told him: "This is my last West Side Story recording.
I can't find a better Tony." Bernstein's opponent Herbert von Karajan brought
out Carmen in Salzburg 1985 on a single condition: Carreras and Agnes Baltsa
had to be the great couple. With Carreras (who has a villa near Barcelona
with a swimming pool and tennis court but lives there four weeks a year)
one can talk about many things: politics, women, opera, etc., but his answers
will always be ambiguous. It is almost impossible to weaken his reserve.
If only you do not talk about the FC Barcelona. Here the man feed 25 000
DM per performance starts looking like some Herr Meier at the football
stadium: "You x-legged want to throw a 50-meter-pass!" Carreras always
runs risks, like a football player at a 40-meter-pass, but he says: "Maradona
has a harder time."
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COVER:
Women go into raptures not only at your high Cs. Your good look is anadvantage,
isn't it?
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CARRERAS:
I have appeal. Pavarotti, too, has appeal, and he weighs 150 kg. However,I
gladly admit my appearance is an advantage.
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You
mean gray threads in your black hair, your amber-colored eyes.Does this
help to have success with women?
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I
know what I could have, and this is enough.
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Is
there a type of woman that makes you helpless?
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Maybe
mighty, emancipated ones.
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What
about your stage partners? You and Katja Ricciarelli are a couple,aren't
you?
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We've
known each other for a long time, and we like each other verymuch. You
know, a stage partner is someone you have great respect for.Of course you
may like one more and others a little less. For example,Agnes Baltsa is
an excellent partner and a real friend of mine, which is evident even on
stage.
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You
travel very much; you are on the journey almost 80 percent of theyear.
There must be little love affairs.
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It
is possible. But it is not necessarily so. Besides, I find an interviewmust
have limits. I don't have to give away everything about my privatelife.
It is hardly interesting to someone.
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So
your Casanova image is something that comes only from the stage?
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Let
everyone think what he wants. I am not a Casanova who - like I'verecently
read about one colleague - loudly declares he needs a newwoman every night.
The truth is that after a performance one is emotional and cannot go to
sleep right away. In my case it is so.
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What
do you do then?
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Sometimes
I take a walk, or go eat; from time to time I go to the casino.
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Are
you a gambler?
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I
love risk. But it has to be predictable. I always set myself a limit.
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I've
heard once you won 90 000 DM in a casino in Vienna.
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Yes,
it is true. But I don't get a swelled head. A gambler is always alooser
in the end. As I told you, I have limits.
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But
you have no limits with singing?
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Now
I am at the best age for a tenor. I gathered the necessary experience.I
got on the stage when I was very young, and then one can't avoidmistakes.
My rule still is this: I better sing every night to my full capacity,but
not up to my 60th birthday. I don't want to disappoint my public.
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It
is a dangerous path. One can burn out like a candle.
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Yes,
the danger is there, but with time you learn to appreciate your bodyas
an instrument. I am very disciplined: I don't drink or smoke; I lead ahealthy
life as far as possible. Our job is very demanding. Just thinkabout constant
traveling and changing climatic zones. It is a greatphysical strain, let
alone the nerve one needs at a premiere.
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How
do you prepare for it?
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I
usually take a one-hour walk. Often I come to the opera house twohours
before the performance. I need the atmosphere to be charged.Then I warm
up - and sometimes become very nervous. I feel great responsibility. Being
an opera singer is sometimes very hard, andsometimes it is wonderful. But
I need this constant challenge; I am areal risk addict. During the performance
you often feel like ropewalker without a safety net. It can be a certain
hazard but I am sure DiegoMaradona has a harder time.
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What
do you feel after a successful premiere?
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I
am very relaxed and easy, almost entranced.
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What
about a less successful?
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Then
I try to find what I did wrong and learn from my mistakes. You mustbe very
honest with yourself when you are on the top, or you are lost.
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There
is a popular joke saying tenors are brain dead.
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This
is just an old legend. It may result from the fact that a tenor (thistype
of voice is not natural for a man) must be more disciplined than abaritone,
for example. Any trifle can bring disaster. As long as your bodyand soul
are OK, so is the voice.
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So
tenors must always wear a scarf?
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Not
really. I try to lead a normal life. Of course I cannot compare my lifewith
that of a normal man who does not work till midnight. I sleep verylong
and awake slowly. I must be in top form only in the evening.
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Is
the public now more discriminating?
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I
think so. Take for instance great digital recordings people haveavailable.
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How
would you define yourself as a singer?
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I
am a romantic hero for a few hours, but I live in 1985 and cannot shutmy
eyes to everyday problems. I have political views. I grew up during Franco's
regime. In school they drummed into our heads bullfight and football were
of greatest importance, to distract us from politics. Nowwe have
democracy, and I am sure Spain needs this change.
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Your
father who was a teacher became a policeman just because hehad other political
convictions.
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As
a socialist he was included in the repressions. Our family was ratherpoor,
although we never hungered. One never forgets this, even whenone can afford
much. I have not changed inside.
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But
you've changed outside. You drive Mercedes 500, and possess an awfully
expensive villa. You came to Vienna with 85 shirts and 20 pairsof shoes,
which did not hinder you from buying 3 more pairs of shoesand 6 shirts.
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This
may be the wish to make up for lost time, also a certain therapy.You sit
in a city and want to please yourself. Shopping is one of thosepleasures.
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A
substitute action.
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Yes,
if you wish.
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You
are married and have two children. How can you keep your familylife if
you are absent almost all the time?
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The
Carreras are a clan. I derive my strength from my family. When Ihave time,
I immediately fly to Barcelona to dedicate myself first of allto my children.
Sometimes we have a children's party, or I play withthem football or pelota.
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Back
to opera. Do you also think it is a fossilized art?
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No,
I don't. Of course one must get accustomed to the irreality, butopera is
a living thing. Nobody doubts they sing in the opera, and notspeak.
Opera is a cultural value; it is not actual. Opera can beinterpreted -
within limits. It is a fairy tale, a love story, and a charm.Opera is often
more than just a play. Opera is more powerful, becauseit has the dimension
of music.
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Why
can one not concentrate on audio and video recordings?
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In
the opera the most important is the living character. This gives it thenecessary
tension; at some performances you can even hear a pin fall.
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Opera
now has acquired dramatic traits. Does an opera singer have tobe
an actor?
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Acting
is now given much attention - by right. You see, Baltsa's impact asCarmen
is produced not only by her great voice. She is a Carmen inevery movement.
The face and body must also be able to express joyand suffering.
The times when singers stood rooted in the ground havelong passed.
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What
do you think of the game about who is the best tenor - Pavarotti,Domingo
or you?
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A
nice game.
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So
you don't care about your place.
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One,
two, three does not matter. What matters is one does his best,feels good
and has success, but sometimes also little fails. I do notsing to be the
first, second or third, I sing to be loved.
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Have
you ever thought what happens if you loose your voice?
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Does
a ski jumper think about a possible fall? You just concentrate onyour work.
Besides, I think positively.
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Have
you always wanted to be a singer?
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At
least since I remember myself. I was five or six years old when I saw Mario
Lanza in a movie. From that time I knew I wanted to be like him. Later
I studied chemistry, but, as everyone knows, opera had won.
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Tenors
are called kings of opera.
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It
is awful to be a king. Think about kings' dramas. A public's favorite is
better.
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To
become a favorite, what has one to sacrifice?
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Every
day when I awake the voice is different. Sometimes it takes half an hour,
sometimes many hours to put it in shape. Then you cool again. You shouldn't
think of what can happen, not to become neurotic.
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So
the anxiety is there?
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Yes,
I do not deny it. I know no singer who is not anxious about the voice.
The more successful you are, the more responsibility you bear.
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At
present you are in a Carmen stream. Why is that?
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"Carmen"
has sex and crime, and people like it. The main character is a femme fatal,
a woman like an abyss, stronger than we men. Militant feminism is gone,
I think, and women like Carmen (who are still there) fascinate.
I've known many successful women who revert to their old roles.
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Opera
directors in the entire world complain about the lack of good singers.
What do you think?
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You
are right. I see no great talents. Many young people want to sing, but
they find no good teachers. What comes to the market is either great voices
without talent or great talents without voice. Even the top ten opera singers
cannot be compared with such phenomenon as Caruso.
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What
about you?
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My
voice is also nothing fantastic. The demands now are different. One must
not only sing, but also act. This requires extra efforts.
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Why
do you think in Verona 20 000 run to Verdi or Bizet, while contemporary
composers enjoy little popularity?
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The
modern opera music is often too intellectual and for this reason does not
touch the public's heart. However, it is not the listeners' fault;
the public is always right. It would run after Mozart or Verdi if they
wrote their operas in our time.
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Is
opera too elitist, do all have a chance to buy a ticket?
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My
colleagues like Peter Hofmann for example, try to reach a wider public,
to arouse interest for opera. I become indignant when I hear somebody
couldn't get a ticket. The Salzburg Festival is without doubt elitist,
and Karajan is a genius, but a ticket costs 500 DM! In Verona a ticket
is about 35 DM, and the festival achieves its object - to reach broad masses.
It is as important as everything else. Next time in Salzburg I would like
to sing for many people at a lower price.
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Who
pays your fee then?
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I
would gladly give up a part of it, or even sing in a benefit concert.
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You
are saying you would sing light music, like your colleagues Hofmann, Domingo
or Kollo?
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Why
not? I love modern music - the Beatles, Elton John, and musicals too.
There is no sin in singing it. It does not damage my voice. All famous
singers sang it. It is a great honor to please millions. I think this gap
between E and U music is not OK. To me there is only good and bad music.
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Your
performances per year number 50 to 60. Can you sing more and earn more
money?
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Sure,
but I must take care of my voice. Money is not everything. I accepted some
tempting offers, I admit, but I've sung also for free, because the project
was interesting.
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Your
schedule is very busy, no gaps till the end of 1986, as far as I know.
Do you long for the time when you could do what you wanted?
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Of
course I do sometimes. For example I dream to make a tour of the North
and South America, in a minivan with friends. However, I do not complain;
it is a gift from God that I can live such a good life. I must take into
account both advantages and disadvantages. I want to make a career; I cannot
simply break it off.
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But
you have earned enough?
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More
than I dreamed of.
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What
is your motivation?
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Certainly
it is not the money. First it is a challenge of conquering new peaks. It
is also a risk, and a feeling of happiness afterwards. It is the public
I serve with pleasure. My manager wouldn't like it, but I'd sing for free,
because singing is my life.
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Your
work is arduous. Is there a temptation to take drugs?
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I've
talked about it once with Paul McCartney. He believes drugs do not help.
Drugs are more a danger than help. Of course there are situations when
one needs a vitamin shot or calcium, but only after one consults a doctor.
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Are
you hypochondriac?
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No.
I only take good care of my health. Sometimes I fly to Vienna to see the
great D. Kürsten, when I have nasopharynx problems.
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Why
do tenors cause butterflies in the public?
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This
can be probably explained by the timbre of the tenor voice, vibrations,
and that the most beautiful arias were written for tenors.
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Vibrations
to the belly?
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You
should do a public polling in the interval; it would be interesting and
amusing.
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You
certainly receive from your admirers not only flowers. What is it? What
do they write you? You are the sunny boy of opera.
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I
get many things: from cakes or dolls to little pillows. And of course letters,
even proposals, if you will. But I keep this all secret. You know, these
little declarations of love are something special and wonderful. I am thankful
for this display of affection.
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What
do you not like in your profession?
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First
of all high life parties where you have to assume a good air.
For the sake of business only I don't go out. I prefer to watch the video
at home. I have many videos.
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What
are they?
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From
E.T. to "Prenom Carmen". I love movies.
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Do
you plan to act in a film?
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A
few films are under discussion. I'd like to participate in one of these
projects.
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Again
back to opera. You perform in many opera houses of the world from Scala
in Milan to Met, from Covent Garden to Vienna Staatsoper. Have you ever
compared them?
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Vienna
possesses the best opera orchestra one can compare only with that of the
Scala in Milan. As far as productions are concerned is La Scala superior.
If a production there is a success, it is usually better than any
other production in any other theater. If it is a flop, it is a tremendous
one.
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