Chiara Isotton: Verdi is part of our history, part of our DNA. We have a moral and civil duty to preserve for future generations the places where the history of music and Italy was built.

Soprano Chiara Isotton was born in Belluno, where she began studying at the Antonio Miari School of Music. Later, she completed her course of study at the B. Marcello Conservatory in Venice where she graduated with high marks in 2007. Following her education, she continued her formation under the guidance of William Matteuzzi, Roberto Scandiuzzi, Regina Resnik, Raina Kabaivanska, Renato Bruson, and Paolo De Napoli. She won several important national and international competitions, including being among the winners of the “European Community” Competition for Young Opera Singers by the Teatro Lirico Sperimentale di Spoleto in 2013 where she debuted her role as Tosca. Isotton debuted at Teatro alla Scala in 2015 as Gran Sacerdotessa in Aida conducted by Zubin Mehta. Also at Teatro alla Scala she interpreted Alisa in Lucia di Lammermoor (Ranzani/Zimmermann), Giovanna in Rigoletto (Luisotti/Deflo), Pisana in I due Foscari (Mariotti/Hermanis), Flora in La Traviata (Santi, Chung, Armiliato/Cavani), Cintia in La cena delle beffe (Rizzi/Martone), and Gertud in Hänsel and Gretel (Albrecht/Bechtolf). In 2015 she played Mimì in La Bohème in Spoleto and later on tour in Japan. She returned to Japan in 2018 as Tosca (Yoshida/Maestrini) in Nagoya. In 2019, she made her debut at La Fenice Opera House in Venice as Tosca (Rustioni/Senigallia). She performed Leonora from Il Trovatore at the Ente Concerti “Marialisa De Carolis” in Sassari. Recently she performed Tosca at the New National Theater in Tokyo (Callegari/Madau-Diaz), in the form of a concert at the Municipal Theater of Treviso (Lanzillotta) and in Piacenza (Quatrini/Guerra), receiving accolades from the public and critics. Her future commitments include participation in the inauguration of Teatro alla Scala’s upcoming season in the role of the Dama in Lady Macbeth (Chailly/Livermore) and in her debut as Elisabetta di Valois in Don Carlo in Marseille (Arrivabeni/Roubaud).

Dear Chiara, thank you for accepting our invitation! It’s such a pleasure to meet and chat with you! How are you? You recently jumped into a production of Fedora at Teatro alla Scala. Tell us about the production. How is your Fedora like? How was the whole experience? 

The pleasure is all mine! It is a joy to be able to have this chat with you! I am truly honored to have taken part in this wonderful production. Being a cover implies the “risk” of going on stage, but I never thought it would happen to me in such an important production. Studying this role, I immediately thought that Fedora is truly a modern woman, in whom many of us can easily see ourselves again. Fedora is a combination of strength, nobility, naivity and passion. I find her very similar to Tosca in some ways (and not only because the subject comes from Sardou). Both find themselves dealing with a situation far beyond their strength, both are crushed by it and both come to suicide, as the only final resolution. I consider myself fortunate to have debuted in such a complex role, expertly guided by the hands of M° Armiliato, who knew how to show me the best way to give the right nuances and character to this complex role, which has a crazy dramatic evolution. Mario Martone then came up with a performance that fully met the idea I had of Fedora. The mix turned out to be perfect because then the whole cast was wonderful (both on and offstage) and together with the orchestra, the chorus, all the staff and the workers helped to make me go onstage serenely. It was a great emotion, I felt the fibers of my heart vibrate with every note and the audience gave me energy and warmth that I will never forget.

Because it’s almost that time of the year and the Prima alla Scala is near… Last year, you were part of an incredible cast of Macbeth, what was it like working with the greatest soprano of nowadays, Anna Netrebko? How big is the pressure to step on stage at Teatro alla Scala on December 7th? 

Working with Anna Netrebko was resounding. For me, truly a great opportunity for professional growth. Anna is a force of nature and this energy is infectious and overwhelming! The pressure of December 7th is enormous, the eyes of the whole world are on La Scala… but the joy of making music in a Sacred Temple like La Scala is greater!

Read the entire interview here, in the 9th/2022 issue of OPERA Charm Magazine.

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