(Photo: Anastasiya Taratorkina)

Prior to the performance of Jean-Baptiste Lemoyne’s rarity “Phèdre” at the Badische Staatstheater in Karlsruhe, Operawire met up with one of its stars, the young Russo-German soprano Anastasiya Taratorkina, who was performing the role of Oenone.

Although only in her third year as a professional singer, she is already building a reputation as a fine singing actress with an attractive, radiant soprano that exhibits a secure, soft tone with a pleasing flexibility. It is not surprising, therefore, that she is a singer in demand and has already debuted at major opera houses, such as Zurich and the Semperoper.

Her breadth of repertoire is also impressive. Next year she is already scheduled to perform works by Händel, Humperdinck, Poulenc, Rameau, Richard Strauß, Johann Strauß and Verdi.

OperaWire: What was your pathway into a career as an opera singer?

Anastasiya Taratorkina: I was born in Novosibirsk in Siberia into a non-musical family; my father was a car mechanic and my mother an accountant. From an early age, I took singing lessons with a teacher. Of course, it was not for opera but pop singing! While still at school, I went to a children’s camp in Kazakhstan, where I took part in a talent competition. I was so inspired by the atmosphere of the big open-air stage and the audience’s applause that when I returned home, I told my mother about it; I knew I wanted to be a singer. After a year of intensive preparation, I was admitted to a music college. After graduating, I immediately continued my studies at the Glinka Conservatory for five years, and when I graduated, I moved to Germany, where I lived with my grandparents for a while.

I never actually sang professionally in Russia. In Germany, I entered the 70 ARD International Music Competition in Munich, where I won first prize and the audience award. After finishing a master’s, I found my first position at the Staatstheater Wiesbaden, where I made my professional debut as Gilda in “Rigoletto,” I remained with the theatre for two seasons, performing 14 roles, then moved to Karlsruhe. This is my first season with the Badisches Staatstheater. So, it is just less than three years since I started to sing professionally. It has been a fast-learning experience; I have sung many roles already and have made guest appearances with other theaters, including the Semperoper in Dresden as Euridice and Susanna, and in Bonn as Gilda, and Woglinde in Basel.

OW: How would you describe your voice?

AT: I would say it is a very colorful and flexible voice with a wide range. Of course, it is still developing, and I am always looking to improve. I think my piano and pianissimo are particularly strong, and it is something I am very happy with.

However, when I sing, it is not just about my voice; it is also about my whole personality and my character, which means that when I am singing, a lot of things develop intuitively; my voice is an expression of my whole being.

OW: Of the roles you have already sung, which did you find most suitable for your voice?

AT: It would have to be Gilda. I only had two weeks of rehearsals, which was very challenging, especially as this was my first professional role. It really did feel perfect for my voice. I’m also very comfortable with Susanna from “Le Nozze di Figaro” and Sophie from “Der Rosenkavalier,” which I will be performing at the Aalto Musiktheater, Essen.

I now have a number of German roles in my repertoire, with which I feel at ease, but I would also like to explore more Italian roles so that I can improve my pronunciation in the language. Also, having recently performed in Phèdre, I feel that French roles are also suitable.

OW: It appears that the role of Gilda is very close to your heart. Is this because you enjoy the singing, or is it that you can identify sympathetically with the character?

AT: It is a combination of both. I enjoy the challenge of the role, and I also like the range of emotions that I am given the opportunity to express. I always like to put myself into the character when I sing. I aim to ensure that my singing is in harmony with my character. This is important to me.

OW: You are currently performing the role of Oenone in an opera called “Phèdre” by the French composer Jean-Baptiste Lemoyne, which only a few people will have heard of. What were your initial impressions of the work?

AT: I like it! It is a story dating back to Ancient Greece, but one that can easily communicate with our time. It revolves around complicated relationships, which we are able to relate to in the same way today as people living at that time.

It tells the story of Phèdre, who falls in love with her stepson Hippolyte, much to the disgust of her husband, Thésée. It deals with love, betrayal and rage. So, a modern audience will not have a problem relating to it. It is also very dramatic, especially the second part of the opera, and it is not difficult to follow the plot.

The music is very good, especially in the second part, in which it becomes emotionally very strong.

OW: What are your impressions of your character? Do you like her? Was it a difficult role to interpret?

AT: Oenone is Phèdre’s servant, although in the original story she was Phèdre’s nanny; I would even say that they are friends, and she knows everything about her. She realizes something is wrong, but she doesn’t know exactly what it is, as Phèdre cannot bring herself to confess her feelings to anyone. She tries to support Phèdre and to comfort her in her torment, but when she finds out that she loves Hippolyte, everything changes. She is always on her side and always wants to protect her. She is like a snake that weaves its way through the story. She lies to the king in order to protect her, turning Hippolyte into the guilty person, leading to his death. So, the tragedy is her fault, yet everything Oenone does is done with good intentions. I think in that situation, she had no other choice. However, it all turns out badly, and Phèdre banishes her.

The role has several very good scenes with two short arias, which have some high notes, to which I have added a small coloratura to one of them. It’s not such a difficult role to sing, but there is one colorful duet with Phèdre that requires a lot of energy and concentration. I love the melody in the low register. In her melodies, there is something quite mystical for me.

OW: What are your thoughts about the production?

AT: It is not set in the ancient world, but it is quite a traditional production, and it is very intense. The sets are restrained, but bright colors allow the characters to stand out. Some scenes are dominated by a wide wooden staircase, mainly for the more crowded scenes. It is a good area for us to act our parts. The costumes are quite nice, but they are huge and quite heavy.

I think the production successfully brings out the emotional experiences of the characters.

OW: What has been the reaction of the critics and the audiences to the opera?

AT: The audiences have been very positive; the applause has been very enthusiastic. I have been very pleased with the reviews; they have been fantastic!

OW: You recently made your house debut at the Zurich Opera in “Die lustige Witwe.” How did you find that experience?

AT: I was very excited about it. I sang the role of Valencienne. It was conducted by Patrick Hahn and directed by Barrie Kosky. I must admit I find operetta quite challenging with all the dialogue, singing and dancing. But I liked it immensely; in many ways, it is very different from traditional opera.

OW: How would you like to see your career progress over the next five years?

AT: At the moment, everything is new to me; I am really only at the start of my journey. Hopefully, there are many exciting roles ahead! I would like to sing so many roles and develop my repertoire, especially the Italian and French.

If I had to select one specific role that I would like to sing, it would be “Manon” by Massenet. I find it to be an inspiring role. Then, after a few years, I hope that I will be singing Violetta.

I also would like to perform more contemporary music. While at Staatstheater Wiesbaden, I sang Oryx in “Oryx and Crake” by Søren Nils Eichberg, based on Margaret Atwood’s novel. I really enjoyed this experience and would be happy if I could explore more new works and different styles.

OW: Retirement is a long way off, but what would you have liked to have achieved at the end of your career?

AT: Of course, like most singers, I would love to have sung in London, Paris, New York, Vienna and all the big opera houses around the world. Also, I would like to have had a successful recording career. At the moment, I have three song cycles that I would like to record by Berg, Poulenc and Clara Schumann.

The thing is I’m still very young, and there is so much repertoire that I want to explore. I am very curious, which is why I am drawn to music from different countries, traditions and eras. I don’t know where this will all lead. I am still searching!