Anastasia Bartoli: The exchange of emotions between performers and audience, which imbues every curtain-raising with wonderful memories, creates that special miracle of dramatic and artistic tension that is live performance.

ANASTASIA BARTOLI made her debut in Cavalleria Rusticana (Lola) at Castell’Arquato Festival with conductor Sergio Alapont and directed by Vivien Hewitt, and in Mozart’s Così fan tutte (Fiordiligi) at Teatro Municipal in Lima. In 2018 she sang Rosina at Teatro Fonderia in Verona in a workshop taken by director Marco Gandini. In June she won the First Price at “Concorso Voci Verdiane” in Busseto and she was the guest soprano at “Lugo Prize” concert with tenor Yusif Eyvazov. In November she made her debut as Vera Principessa di Chablis in  by Pietro Mascagni at Teatro Goldoni in Livorno, Valerio Galli conducting. In December she performed in a concert with the ensemble “Solisti Veneti” in memory of M°Claudio Scimone, at Eremitani Church in Padua and in a Christmas Gala at the Roman Opera in Craiova alongside Fabio Armiliato and Alberto Gazale. In March 2019 she did her debut at Teatro Bellini in Catania, singing the role of Olga in Umberto Giordano’s Fedora. In October she made her company debut at the Teatro Regio di Parma in a Verdi Gala Night alongside Leo Nucci. Again with Leo Nucci she starred in a gala night in Sofia. The same month she debut Donna Elvira in Mozart’s Don Giovanni. She debut as Lady Macbeth in Macbeth at the Tokyo Spring Festival, Riccardo Muti conducting.

Hello, Anastasia! Thank you for accepting our invitation! I’m glad that I have the opportunity to interviewed you right after your debut as Abigaille on the 21th Ocotber at Teatro Petruzzelli in Bari under the direction of M° Renato Palumbo, alongside with George Petean as Nabucco and Riccardo Zanellato as Zaccaria. Tell us about this experience. How do you decide that you are ready for a certain role and, from that moment on, what is the preparation process?

Debuting in such a difficult and demanding role as Abigaille was a great commitment, but above all a great emotion. I was lucky enough to work alongside extraordinary colleagues who, as well as giving me courage, helped me to grow, supporting me in this adventure. Not to mention the wonder of being on stage at the Petruzzelli Theatre in Bari, which is certainly a real source of inspiration thanks to its beauty and majesty. As for the roles you sing, you are probably never completely ready for a role, but you have to experiment and then study many of them, sing them, memorise them, and have them in your repertoire. At the moment of a specific request, I dedicate myself almost exclusively to singing the role in question every day, sometimes entirely, at other times dwelling on certain specific passages, studying and re-studying, especially the most difficult moments, with a technical research of sound, pronunciation, a continuous attention to the relationship between text and music in constant respect of the Composer and Librettist.

In the main cultural centres of Europe, things seem to be turning back to normal, but we can’t forget the fact that culture & arts have been extremly hurt by the restrictions of the pandemic. What was this year and a half for you, professionally, but also psychologically? How did you feel the coming back in front of the acutal public, in the theater?

From the first moment of lockdown, I thought of studying even more than before, to be ready as if I had to make my debut every day. It was a difficult period, but I had the opportunity to increase the hours of study even though nothing can entirely replace the live experience on the boards of the stage. I felt driven by great enthusiasm and a constant need to learn more and more. During the closure of the Theaters I was able to live the experience of the Streaming performance with which I debuted La Vedova Allegra in a beautiful Theatre, the Verdi of Padua, but empty and deprived of the most important element for the artists and for the performance itself: the audience. Therefore, the return to the stage with an audience in attendance was exciting and moving because, ultimately, nothing can replace the live performance and the emotional exchange between artist, audience and vice versa.

Read the entire interview here, in the 7th/2021 issue of OPERA Charm Magazine.


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