(Photograph by Camilla Greenwell)

Russian-Tatar star soprano Aida Garifullina is considered one of the best singers of her generation and is an internationally celebrated artist. She is a regular guest artist of the world’s leading opera houses and concert venues, including the Royal Opera House, La Scala, the Metropolitan Opera, Paris National Opera, Arena di Verona, and Salzburg Festival. Garifullina first rose to prominence as the winner of the 2013 Operalia Competition. Now a firm fixture on the world’s leading stages, her career highlights have included performances at the opening and closing ceremonies of the 2018 Football World Cup, and at the 2018 Concert de Paris for Bastille Day – both events being broadcast live on television to millions worldwide.

Alongside a successful operatic career, Aida is a celebrated recording artist. Her acclaimed solo album “AIDA”, with Decca Records, won Best Solo Album of the year (ECHO), and in 2017 she was nominated for a Grammy (Best Opera Recording) for the Rimsky Korsakov’s “The Golden Cockerel”.

OperaWire caught up with Aida at the Royal Opera House, Covent Garden, where she is preparing for her upcoming performances as Violetta in “La Traviata”.

OW:
Hello Aida, thank you for taking time out of your busy schedule to speak with OperaWire. How are you?

AG:
Stressed! But it’s a good stress, you know? It’s a good stress – I love “La Traviata”. It’s my favorite opera.

OW:
”La Traviata” is your favorite opera? I know you’ve sung it five times now. Do you try and bring something new each time or do you have something established which you think works well, or do you change it with each performance?

AG:
Absolutely, I change it. Nothing can be static. We change ourselves every day. I read a lot, I watch the movies and go to the theatre to learn more about the craft, and the history surrounding my roles. I love acting – it is my second passion, so it influences me greatly. I try to grow and build new characters, build a new understanding and approach to the role. And of course – experience. Every year we grow, we discover something new in life – our relationships with people, our inner feelings, how we go through emotions and of course these roles have so many different colours and so many different layers and levels. Violetta is very different from the initial portrayal of her as a “party girl” to when people truly discover her, her depth and her manners and her intelligence. She’s beautiful and the different aspects of her personality present me with challenges that I delight in.

OW:
Do you identify with her? Do you see things in yourself that are traits in her character?

AG:
The complexity, and great privilege, of being an artist is to find similarities with our roles. I think every woman can find some common ground between themselves and Violetta.

OW:
How are rehearsals going, and are you happy with the production?

AG: 
I am grateful that I have the opportunity to be a part of this production. It is so beautiful, and I love it. It’s so elegant, it’s so timeless, and I hope it will go on for many, many years. As you mentioned, I’ve sung the role a few times in the past, like the Monte Carlo production. The Monte Carlo Opera was a very beautiful one, but of course the Opera House is different – it’s smaller and more intimate – so here it all feels on a much bigger scale, and all the decorations they’re oversized, they’re not true to life, but it allows you to really imagine the grandeur that she was living in. Historically, Violetta was very elegant, and had great taste, so I feel that this set is an external representation of her character.
I read that Alfredo wasn’t from a royal or noble family, not even close to that. He was from bourgeoisie. So it was just about love, just about feelings towards her. She was ready to lose everything, to lose access to the material world that she was used to. She was ready to lose it, to explore this new feeling that she never felt before, that she never felt for anyone and that has never been reciprocated. Nobody truly loved her for her. And we understand that at the very end of the opera when we see there are only a few people present in her final moments.

OW:
You recently did something for the BBC Proms, a Dr. Who celebration? You sang on this?

AG:
(Laughing) Yes! Oh my God, we celebrated 60 years of Doctor Who this year – the 60 years anniversary! I’m so privileged and so honoured that they asked me to sing three songs from the TV series that evening – I sang the main theme, the Abigail’s song which is just so beautiful, and finally The Vale Decem which is a fantastic piece of music. To be honest, I was the most nervous because we only had one rehearsal, and there are these big, big pieces with orchestra and choir; so much beautiful, big sound. The whole evening was a huge success, and we received a standing ovation. it was perfect. It was incredible, and I was so proud to be a part of it, and to sing at the BBC proms again after singing in Hyde Park six years ago.

I love film music. I’m so open to different types of music. Of course, opera is my base, it’s something that I grew up with and I feel it’s in my blood, but music is music. So, yes, the film music ignites something different in me. I am also proud that I sing it with my natural voice, with my classically trained voice, and that it is appreciated. I do not change my voice to fit into a different box, and I think that can open up these different styles of music for a wider audience, perhaps a younger audience who would not normally consider listening to a classical voice. I feel like this is my mission, to make classical music more accessible. It is important, and I feel the need to help a wider audience understand and learn about this music, especially in this online era that we find ourselves in. Film music is one of these opportunities.

OW:
I know you have a young daughter. Is she learning about music? Is she going to sing, do you think?

AG:
I’m not sure about singing, but she’s a good actress, and she’s a good painter – a really good painter. She was painting Picasso’s Mum a few months ago and it was incredible. She loves Van Gogh – she’s drawn to his work, and she’s always trying something. She has her vision, she’s very artistic. I’m very proud of her.

OW:
What’s next for you? “Romeo & Juliette”, I believe, and then “Eugene Onegin”?

AG:
In Berlin, yes, “Romeo & Juliette”, a new production. And then, “Eugene Onegin” at La Scala.

OW:
Yes, “Onegin”, an opera in your mother tongue. Do you find that enables you to connect with the role better, being in your own language?

AG:
I think so. Of course, the mother language is always the one that you feel deeply inside. It’s more natural. You don’t need to translate it. First of all, it saves a lot of time, because, for example, I don’t speak French, but I have to sing it. I need to sing in French, and in order to feel every word, I need to remember the translation of every word, you know?
Its hard work, and often the audience is perhaps not aware of that. But for us, it’s not just to learn the text and the music, but also to feel every word and its meaning. It’s a deeper understanding.

OW:
What would you like to sing in the future? What’s the dream role that you aspire to sing?

AG:
To be honest, I’m singing it at the moment. My dream roles are Traviata, Juliette and Tatiana. Of course, Tatiana has always been, and I still can’t believe I have the chance to sing her even now. I still feel I’m young, but vocally and mentally I know that I am ready, and I can’t wait. Of course, we grew up reading the novel “Eugene Onegin” by one of the greatest Russian writers Alexander Pushkin – it is a masterpiece in Russian literature, and I am very excited to sing such a prominent female literary figure.

OW:
I read that your favorite soprano was Anna Moffo? What was it about her that you found so appealing, and who else did you particularly enjoy listening to?

AG:
One of my favorite sopranos, yes. First of all, she is just so beautiful. She is absolutely gorgeous. She has a beautiful voice. I love the way she connects the phrases – the way she is using the bel canto technique. I love the colour of her voice. She sings Rachmaninoff’s “Vocalise”, which is one of the most difficult pieces – without the words, and just the melody. It makes it even more difficult because with words you can rely on something, you can rely on the pronunciation, on the consonants. Here, you sing just with one breath you need to keep this very gradual, improving line. A very soft and very, stable line. It’s so difficult. “Vocalise” is one of the toughest – trust me, I sang it – I even recorded it for my solo Album – and the way she sings it, it’s incredible.
Her low register is beautiful; very deep and rich and still her top notes are brilliant. And I know she didn’t sing many operas on stage, but in the movies – in the “La Pagliata” movie for example – she was exceptional.

But I also listened to Maria Callas, of course, Joan Sutherland, Kiri te Kanawa, Nelly Miricioiu…so many great artists have so much to offer to our younger generations and I will always look to them to learn.