Interview with Gregory Kunde at the Rossini Opera Festival-August, 2009
Gregory Kunde in recital at the Rossini Opera Festival August, 2009
© Amati Bacciardi. Official ROF photos.
Interview With Gregory Kunde
Q. According to your biography at ROF, you started singing in Pesaro in 1992.
How did that come about?
It was a bit strange actually. I auditioned for Mo. Zedda by chance back in 1989 while I was in Paris to sing Guillaume Tell at the Theatre des Champs-Elyseè. Pier-Luigi Pizzi set up the audition as he was the producer and stage director of the show in Paris. It was a very nice audition and I sang “Asile Héreditaire” and the aria from Cenerentola. Mo. Zedda was very nice and said he thought I sang wonderfully, but that my voice was too beautiful to sing Rossini! In any case, one year later, I had the chance to sing at La Scala for Muti and also Zedda again as they were looking for someone to cover Chris Merritt in La Donna Del Lago and perhaps sing a performance or two. Well, I got the job as Chris’ cover and subsequently was called a year after that audition to come to Pesaro for Semiramide. Now, mind you, I had no idea what either of these parts entailed; I only knew that I would have an opportunity to sing at, first of all, one of the greatest, if not the greatest theatres in the world, and also at one of the most prestigious festivals, as well. As it ended up, I made my stage debut at Scala in July of 1992 and went directly for rehearsals in Pesaro and made my debut there four weeks later. Also of note, Bruce Ford was my partner at La Scala as Giacomo (I was Rodrigo), and we made our debuts in the same performance and then again in Pesaro, he was in opening night of Barbiere and I in Semiramide the next night.
Q. What made you decide to return?
Well, after having such a wonderful and, may I say, unexpected success as Idreno, Dr. Mariotti and Mo. Zedda asked me after the premiere if I would like to come back the following season for Armida. How could one resist such an offer? Of course, I jumped at the opportunity. As one who knows Pesaro, Nick, it’s hard to say no to this wonderful city.
Q. You sang Idreno in Sermiramide in 1992 and again in 2003, did you have a
different approach to the role when you sang it in ’03?
I have to say, I was a bit torn about that invitation. It was, and always is a difficult decision to say you will come back to reprise a role in which you had such a success. In ’92 I was a new face on the scene, and, therefore, there was no pressure on me except to do well. And in 11 years I had quite a lot of repertoire. But I don’t think that I approached it any differently except for the fact that I had expanded the repertoire already a bit by having begun singing some Berlioz. I also was, of course, a bit concerned about whether or not I would be able to repeat the role as I had done it 11 years before. I hadn’t sung the part since ’98, but I had good memories of the three productions that I had already done. And, in fact, I had just come from Berlin where I was doing the role in a new production there with Mo. Zedda in the pit. That actually went quite well, but I must say that I was not very happy with the outcome of the ’03 Idreno.
Kunde as Antenore in Zelmira Act One Scene One © Amati Bacciardi.
Q. In 1996 you sang the protagonist in Ricciardo e Zoraide, what do you think
about the role? Did it fit your style?
I think it did. I must confess that I don’t remember a lot about that production except that it was a role much like Rinaldo in Armida. I remember the entrance aria being quite exciting and the duet with Agorante was also a high point. I also remember there was quite a bit of controversy over my performances, and I really never understood why. I have listened to the recording a few times, and I must say that I was quite happy with the outcome. But in any case it proved to be my last performance there for many years which made me a bit sad.
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