The jubilation is pre-programmed
Feature |
Nowadays, no self-respecting opera house in the world that wants to satisfy its audience can ignore Xabier Anduaga: The almost 30-year-old Spanish tenor has an incredibly beautiful timbre in all registers, a big voice that he is able to scale effortlessly to pianissimo, a flawless technique and a charisma that draws all eyes to him. When he made his debut as Ernesto in Don Pasquale at the Vienna State Opera in February 2024, some people in the orchestra pit even turned towards the stage to get a better look at this exceptional singer during his aria in the second act. It goes without saying that the audience cheered him on that evening, just as they did two months later as Nemorino in Donizetti's Liebestrank. During the famous aria "Una furtiva lagrima", the house was virtually upside down.
Just like at the season presentation in April 2024, where he seemed to effortlessly shake the breakneck aria "Ah, mes amis" with the nine high Cs from the regiment's daughter out of his sleeve. And all in one morning! Now he returns to the house in March alongside Nadine Sierra and KS Sir Bryn Terfel to delight once again as Nemorino. The following conversation with the artist is fitting.
So far, you have thrilled audiences at the State Opera as Ernesto and Nemorino, among others. Both Donizetti roles - how do they differ, which one is more difficult?
Xabier Anduaga: It's difficult to say. Ernesto is generally higher throughout and much of his singing takes place in the challenging passaggio range. On the other hand, Nemorino has much more to sing overall, he is on stage almost all the time - one duet follows another, not to mention the great aria in the second act, which almost everyone in the audience has already heard from the greatest tenors.
You have to hold your own there! The voice connoisseurs will put their heads together immediately after the last note of this aria and pass judgment. Conversely, you have the chance to make people happy with this hit song - that's also why I chose my profession: I want to make people happy. In short, I like both roles.
As well as Donizetti, you also sing a lot of Bellini and Rossini. For the tenor, what are the differences between these three so-called bel canto composers?
Xabier Anduaga: With their long, beautiful legato phrases, Donizetti and Bellini symbolize exactly what bel canto is all about for me. With Rossini, the coloraturas are more in the foreground - there are somewhat different vocal cliffs to master.
And what about Verdi? Alfredo in Traviata or the Duke of Rigoletto are also part of your repertoire.
Xabier Anduaga: Some of the early and middle Verdi is not so far removed from Donizetti. Whether it's Lucia di Lammer moor and Lucrezia Borgia or Traviata and Rigoletto, for me there's no difference in vocal style or technique. Of course, the real spinto roles are something else, but they can wait a little longer. I have enough beautiful roles in my current repertoire - not only in the Italians, but also in Werther or Roméo.
And what about the German subject?
Xabier Anduaga: I need to improve my German first. It would be disrespectful to the works and composers if I sang something without being able to offer a one hundred percent interpretation of the text.
What are you most proud of in your career so far? Specific roles? Debuts?
Xabier Anduaga: Neither. I am proud when I am invited back to important houses after my debut. It is certainly exciting to be able to sing on a stage like the Vienna State Opera for the first time. But when I get another offer from the management, I see it as confirmation that what I offered was okay.
Who is your biggest critic. Who is allowed to criticize you at all?
Xabier Anduaga: My wife. If only because she is also my singing teacher. (laughs)
And when can she say something? Immediately after the performance or does she have to wait until the next morning until everything has settled?
Xabier Anduaga: No, no, she can, she even has to get in touch immediately if something needs to be improved. Even during the performance - after all, it's about getting the best out of me for the audience!