Charming beginnings: Priscila Olegário

Priscila Olegário is a Brazilian singer who debuted as a soprano in the title role of Giuseppe Verdi’s Aida at Teatro San Carlo di Napoli, Teatro Comunale di Bologna and Teatro Argentina in Rome (2018). She was part of the “Accademia Verdiana” (2020) at Teatro Regio di Parma, having classes with great specialists from the Verdian repertoire such as Renata Scotto, Barbara Frittoli, Mariela Devia, Michele Pertusi, among others. She currently continues her studies at the “Accademia Lirica di Bel Canto” in Osimo, Italy.
Priscila began her career as a mezzo-soprano in Brazil, Belgium, France and the Netherlands where she performed in the following operatic roles: Carmen/Mercedes (Carmen), Elle (La Voix Humaine), Judit (Herzog Blaubarts Burg), Maddalena (Rigoletto), Santuzza/Lola (Cavalleria Rusticana), Flora (La Traviata), 
Der Ringe Des Nibelungen –
Flosshilde; Die Walküre – Siegrune; Tannhäuser – Venus; Porgy And Bess – Serena/Bess. Gianni Schicchi – Zita.
Priscila Olegário obtained her Bachelor’s degree in classical singing at the Music and Drama Conservatory of São Paulo, Brazil. She then continued her musical studies at the Opera Studio of São Paulo State School of Music (EMESP), finally moving to Europe to pursue her Master’s degree in classical singing at the “Conservatoire Royal de Bruxelles”.
In Europe, she studied with Edda Moser (Germany), Nadine Denize (France), and Cristina Piperno (Italy). In 2016, she participated in the International Summer Festival in Salzburg, in Edda Moser’s class.
She participated in masterclasses by Ines Salazar (Italy), José van Dam (Belgium), Sylvia Sass (Italy) Juan Pons (Spain), Graciela Araya (Chile), Luiz Lima (Argentina). 

Dear Priscila, it’s always wonderful to chat with the young promises of the opera world! Thank you for accepting my invitation. Allow me to introduce you to our readers. How old were you when you discovered your love of singing? Was it love at first sight or did you pursue other interests before making peace with your path?

Hello, OPERA Charm Magazine! Thank you for having me! Well, I discovered the opera entirely by chance. When I was 18 years old I used to play guitar and had a heavy metal band. I learned to play  guitar by myself and wanted to learn how to read scores to have autonomy to play the songs that were transcribed in specialized guitar magazines. This objective made me join an amateur choir in my city São Paulo, where they had music theory classes. I had never sung before in my life.They were rehearsing Handel’s Messiah, and yes it was totally love at first sight. When I was immersed in that harmony, I was delighted and from there I never stopped. I entered the Conservatory the following year. Then I did opera studio always in my city and some productions as a choir singer until my opportunity to come to Europe came up.

You started your musical studies in Brasil. How’s opera perceived in that part of the world comparing to Europe and what made you decide to continue your development in Europe? Where have you felt better, speaking from the point of view of the student-teacher relationship?

Opera as well as other artistic expressions have never been considered a priority by Brazilian governments (especially now with this disastrous government #FORABOLSONARO). So for those who choose this path it has never been easy. The study and consumption of opera in Brazil has always been aimed at a bourgeoisie, an elite (that is why I came to know opera entirely by chance). Here in Europe I see that there is a greater care for culture in general and the dissemination of opera in ways that are more accessible to different layers of society. That was one of the reasons why I wanted to come to Europe, in addition to the study of singing itself, I was always fascinated by the possibility of experiencing other cultures, learning other languages, etc. I have always had a good relationship with all my teachers, whether in Brazil or abroad. Now speaking from the perspective of where I learned the most, it was certainly in Europe for obvious reasons.

Read the entire interview & many other interesting articles here, in the 3rd/2021 issue of OPERA Charm Magazine.

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