Şerban Vasile graduated from the George Enescu Music High School, Bucharest. He continued his academic studies in the Singing Department of the National University of Music. In 2008 Şerban won second prize in the International Singing Competition in Spoleto, Italy. In 2009 he won the Maeştrii Artei Lirice competition in Bucharest and went on to debut as Marcello, La bohème in Burgas, Bulgaria. His success at the 2010 AsLiCo Competition resulted in his debut in the contemporary opera Lupus in fabula by Raffaele Sargenti and the role of Dandini from La Cenerentola at AsLiCo and Teatro di Piacenza. Also in 2010, Şerban won second prize in the Salicedoro International Singing Competition.
He has appeared throughout Romania with orchestras including the George Enescu Philharmonic Orchestra and the Orchestra of the National Opera House, Bucharest. Şerban has worked with conductors including Cristian Badea and Ludovic Bács and singers including Alfonso Antoniozzi, Mariella Devia, Eduard Tumagian, Luciana Serra, Nelly Miricioiu, Tiziana Fabbricini and George Crăsnaru.
Şerban appears in Le nozze di Figaro in Como, and took part in an Opera Domani project taking Nabucco to 20 Italian cities.
Hello, dear Șerban! I’m so glad that I have the opportunity to chat with you. The beginning of 2022 finds you in Romania, for a production of Carmen at Romanian Opera House in Iași and one of Madama Butterfly at Romanian Opera House in Timișoara. What was like to be back on stage in your home country? How did the public welcome you?
Thank you OC. Of course it’s always a pleasure being “home”, especially when you feel that everyone there is looking forward to see your performance, let’s say. And yes, the public in Iasi it’s a wonderful one. For me 2022 is a sort of a new start: I had some time to think about myself and reflect about if this is what I really want for my life (in this economic and political situation).
Everyone has a story about the first impression we had on opera. What’s yours? When did you realise for the first time that opera was your path and who are those who guided your first steps?
I have to blame my mother and father for that, but I also have to thank them because they pushed me doing music. As a small child I was always singing old music from my vinyl discs at home. My mother had one belonging to her brother (that played and still plays violin), but my family actually never had nothing to do with music: that’s why it was something new for me, and I enjoyed it from the beginning. I finished College G. Enescu in Bucharest and the National Musicale University, also in Bucharest, under guidance of Eleonora Enachescu. Last year I was already one of the winners of As. Li. Co competition in Italy and this brought me into this wonderful adventure of my life.
You just came back from an extraordinary experience – Riccardo Muti Italian Opera Academy. From 4th to 15th December you were Nabucco at Fondazione Prada. Tell us about your experience there? How was working under the guidance of M Riccardo Muti?
I have to specify that it’s not my first time working with Maestro Muti, and as much as people in our “society” don’t like him for a million reasons, I think he is the last one of a great line of conductors. He knows exactly how to guide you, how to make the orchestra become something exceptional, how to express the melody of every single instrument (a thing that it’s rare to find in other orchestras)… nowadays nobody usually has the time to do this. It would take a lot of time to explain how and why in my opinion Maestro Muti was, and hopefully, will continue to be a GREAT GREAT maestro. I had the pleasure of working on Nabucco with him, but our first collaboration actually was with Macbeth and then Cavalleria and Pagliacci: I have to say that only now, after this experience with Nabucco, I can really understand what he was asking and trying to get out from me with Macbeth: this opera is one of my favourites and I think it’s also Maestro Muti’s fault for that! Also, I have to add that everything that people hear listening to a recording doesn’t even come close to the work and the preparation that’s behind it.
Read the entire interview here, in the 2th/2022 issue of OPERA Charm Magazine.0