{"id":18669,"date":"2015-06-12T17:17:44","date_gmt":"2015-06-12T07:17:44","guid":{"rendered":"http:\/\/soundslikesydney.com.au\/?p=18669"},"modified":"2015-06-12T17:17:44","modified_gmt":"2015-06-12T07:17:44","slug":"meet-lise-lindstrom-a-great-turandot","status":"publish","type":"post","link":"https:\/\/soundslikesydney.com.au\/?p=18669","title":{"rendered":"Meet Lise Lindstrom – “A Great Turandot”"},"content":{"rendered":"
\"Lise
Lise Lindstrom as Turandot at the Royal Opera, Covent Garden. Image supplied. Photo credit Tristram Kenton.<\/figcaption><\/figure>\n

\u201cThe tall, slender Lindstrom wielded the icy glamour of a 30\u2019s film star, working the trains and veils of her elaborate costumes with the panache of a runway model.\u201d Turandot, New York Post<\/i>\u00a0<\/p>\n

Sydney audiences are in for a very special experience when Opera Australia presents Graeme Murphy’s production of Puccini’s Turandot <\/i>in the forthcoming 2015 winter season. The title role will be sung by American dramatic soprano Lise Lindstrom.<\/p>\n

\u00a0In the 2013-2014 northern season, Lise Lindstrom made a significant impact with her debut in the Puccini role at the Royal Opera, Covent Garden, a performance that was beamed to movies houses around the world and captured in High Definition on DVD. \u00a0During that season she marked her 100th<\/sup> performance of the role, just ten years after her first performance in Mobile, Alabama. Opera News<\/i> raved that \u201cLindstrom understands that a great Turandot needs to find the moments when the character\u2019s vulnerability can be revealed. The soprano accomplishes just that, delivering in Act 3, soft yet insistent legato phrases, though Puccini gives few opportunities to do so. We saw the tender heart beneath the glacial, dragon assoluta<\/i> exterior.\u201d\u00a0<\/p>\n

\u201cWorking at Covent Garden was truly a pleasure” says Lindstrom. “It\u2019s an enormous company with an enormous schedule, and yet it somehow feels like family. I expect the same to be true at Opera Australia. I have heard from many of my colleagues how wonderful it is to work with OA. As far as sightseeing goes, the only thing on my very short list of things to see is the opera house. Maybe someone can help me extend my list?\u201d\u00a0<\/p>\n

The soprano herself reiterates what an important role Turandot has been in her career development and how delighted she is to be coming to Sydney to make her Opera Australia debut. \u201cThe truth is that Turandot really taught me how to sing,\u201d she says.\u00a0 \u201cI somehow found myself and my voice in Turandot. For years I was singing lighter, \u00a0more lyric repertoire and it was really difficult for me.\u00a0 I had no success getting work or getting an agent. I just never \u2018found\u2019 my voice in the lighter repertoire. It seemed like I might never get a \u2018break\u2019 in the land of opera.\u201d\u00a0<\/p>\n

Having recently sung the role at the world\u2019s best opera theatres including Milan’s Teatro alla Scala and New York’s \u00a0Metropolitan Opera, \u00a0arguably Lindstrom is now regarded as one of the most respected dramatic sopranos of her generation.\u00a0<\/p>\n

\"Lise
Lise Lindstrom as Turandot at Chor\u00e9gies d’Orange. Image supplied. Photo Credit: Philippe Gromelle.<\/figcaption><\/figure>\n

On the subject of dramatic voices she says, \u201cI think the only prerequisites to singing the dramatic repertoire are \u00a0that one is able to do so without harm to themselves, their instruments, and the absolute ability to make the sound required to musically portray the character. To me that naturally means younger voices will more than likely have difficulty producing the required sound, in addition to grasping the deep theatrical skill required to portray these characters. Nonetheless, everyone has their unique path and speed of development. I wouldn\u2019t feel comfortable saying that someone has to wait until such and such an age before singing this repertoire.”\u00a0<\/p>\n

She adds, “Many singers are drawn to big sounds and dramatic music, and they end up throwing themselves under the bus by biting off more than they can chew. The truth is, no matter what size of instrument one has, if the sound isn\u2019t pleasing to the ear, efficient and compelling it doesn\u2019t matter how much sound you can make. So I would say: Learn to sing. Period. And move on from there. If one isn\u2019t interested in finding the most efficient and pleasing way to sing, then perhaps there is some confusion about the end goal.\u201d<\/p>\n

\u00a0Lindstrom’s \u00a0recent debut in the demanding role of Elektra in Hamburg, under the direction of Australian conductor Simone Young, also received high praise and standing ovations. The demands of such a role with only one week of rehearsal are incredible, but Lindstrom says it was \u201ccrystal clear\u201d from the beginning that she was in very capable hands.\u00a0<\/p>\n

\u201cI consider it a real gift to have had the opportunity to do my first Elektra with Simone. She knows the score inside out and she has a deep appreciation for Strauss\u2019 specific nuance and energy.<\/p>\n

\u00a0In order to really sing<\/i> Strauss it is necessary to have a conductor who is open and available to the music, and not someone who is trying just to make sound. Simone obviously deeply respects Strauss and, most importantly, has what I would call an intuitive sense of the layers, nuance and humour in his work. In the end, Elektra<\/i> should sound like a lyric opera rather than a bombastic wall of sound. Simone is able to coax a complex, compelling and mightily powerful sound from everyone in the pit as well as those of us on stage.”<\/p>\n

\"Lise
Lise Lindstrom as Turandot at La Scala. Image supplied. Photo credit: Brescia\/Amisano<\/figcaption><\/figure>\n

\u00a0Describing the finely tuned partnership between singer and conductor, Lise Lindstrom says “I find the relationship between myself and the conductor to be based 100% on trust. If I feel that the conductor has everyone\u2019s best interests at heart, including mine and the composer\u2019s, then it\u2019s very easy to trust him or her. If there seems to be some other agenda at work which disrupts the creative process, then the work can be very difficult.\u00a0 The composer should always win, and my best work is done with that in mind. In my opinion, conducting is one of the least understood occupations in music, and consequently hugely underestimated. People think it \u2018s easy to wave your arms around and make grand gestures, with no real understanding of the immense skill required. Not every musician can be a good conductor.\u201d\u00a0<\/p>\n

On the actual process of learning Elektra, Lindstrom says it was \u00a0\u201coverwhelming, confounding and incredibly intimidating.\u201d She felt the same thing with Salome.\u00a0<\/p>\n

\u201cIt certainly helped having sung Salome many times. That gave me an inkling as to the musical style \u2013 but that doesn\u2019t mean that Elektra was \u2018predictable\u2019 in any way. Strauss requires physical and mental stamina, in addition to intentional calculation, that other composers don\u2019t necessarily require. Once the piece is learned and embodied, it makes perfect sense. One of the joys of Strauss is that since his compositions are so unique, there is no possibility of discovering all<\/i> the layers the first time, or maybe even the 100th<\/sup> time, you sing it. The music keeps revealing itself to the interpreter and that makes it a lifetime relationship and therefore potentially very rewarding.\u201d<\/p>\n

\u00a0So, are the demands of an international career equally rewarding?\u00a0<\/p>\n

\u201cThe life of a professional singer might seem glamorous, but it is a challenging lifestyle and not for the faint of heart. The ins and outs of navigating all the travel, different apartments, hotels, food, and being constantly uprooted from home, friends and family, \u00a0is hard on all of us.\u00a0 And to top it all off, there are the pressures of performing!\u00a0 These are issues that not everyone can bear, nor every relationship.\u00a0 \u00a0I would say to any young singer, be very clear what is entailed in a professional career because there is a lot at stake. There is, of course, also a lot to be gained. In my life, I have a handful of very close friends who keep me tethered and grounded. Thankfully, due to technology I am able to stay in touch with \u2018my people\u2019 no matter where I am. Nonetheless, the basic life of a singer on the road can be isolated and isolating. Everything must be in service to the performance and that means, you don\u2019t often have the luxury of grabbing a beer after rehearsal and visiting with the local cast. I have to protect my energies, and my health so that the performance is a success. I guess that\u2019s \u00a0the non-glamorous part \u2013 that and the wig glue on your face as you board your flight out of town the next morning after the last performance, but that\u2019s another story.\u201d<\/p>\n

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Deborah Humble for SoundsLikeSydney\u00a9<\/i>\u00a0<\/p>\n

Based in Hamburg, Germany, Mezzo-Soprano Deborah Humble is one of Australia\u2019s most successful international artists.<\/i>\u00a0<\/i><\/p>\n

Deborah Humble’s 2015 engagements include Erda in <\/i>Das Rheingold <\/i>with the Hong Kong Philharmonic, \u00a0and in <\/i>Siegfried <\/i>at the Boston Symphony Hall, her first Brang\u00e4ne in <\/i>Tristan und Isolde <\/i>in Mexico City, Judith in <\/i>Bluebeard\u2019s Castle <\/i>in Melbourne, Elgar’s <\/i>Sea Pictures <\/i>at Britannia in Bamberg, Elektra with the Hamburg State Opera, <\/i>Parsifal <\/i>in Birmingham and Mahler\u2019s <\/i>Symphony No. 8 <\/i>in Singapore.<\/i>\u00a0<\/i><\/p>\n

Ms Humble is a former member of the ensembles of Opera Australia and the Hamburg State Opera, where she had her international breakthrough in 2008 as Erda in a new production of <\/i>Das Rheingold<\/i>.<\/i><\/p>\n

\u00a0<\/i>Opera Australia presents Turandot<\/i> at the Sydney Opera House, from June 24 – August 28, 2015.\u00a0<\/p>\n

www.liselindstrom.com<\/a><\/p>\n

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