Between March 10th and 18th, alternating her two dearest Erkel-roles, Klára sings five shows on the opera stages of Budapest and Szeged. On this special occasion we would like to share with our Visitors the interview fragments, in which the artist speaks about her two emblematic roles.
” For me the heartbreaking and also maddening point is that Melinda adores her husband deeply, that she lives and breathes within him and through him – and when she looses him, her why, her reason to live on ceases to exist. She knows that they can never embrace each other anymore without the memory of that horrible thing that happened… I feel that she isn’t becoming mad, but has visions because of the violence she just experienced, however at the end of the duet she bids farewell from Bánk very consciously – forever… “
“I try to begin from the music, and there it is: a wonderful little trio, when Erzsébet is enjoying her children, and for me this is her dominant feature, the love for her children, not the nation’s first widow. I’m not interested in the politician, but in the mother. Yes, she is ready to challenge the king in the oath scene, and her eyes can scatter thunders, but her main motivation is definitely the motherly love.”
In the early 2006, after Bartók’s Bluebeard’s Castle (!) show, the music director of that time, Gergely Kesselyák, advised me strongly to change my fach to the dramatic coloratura one. The first effect of this change was my debut in the role of Melinda, in Autumm 2006. Naturally I couldn’t have guessed, that I am about to meet one of the roles that will remain dearest to my heart. I stood into the production of Imre Kerényi, in the abridged version of Nádasdy. I was happy with the role of Melinda and I finally felt that in this figure I got what I yearned to both from vocal and dramatic points of view. And in addition I had the honour to debut next to János Bándi – a Bánk of irresistible strength. I will never forget how profoundly emotional was the first phrase of our duet: “Where did the white lily from your forehead go?” – at this point I could never resist during the rehearsals, I was always moved, always reacted as Melinda herself would.
In the Hungarian performance practice, especially after the Second World War, there has been a tradition of dramatic sopranos in this role, connected to the names of Paula Takács, Gabriella Déry and later Anikó Rohonyi. I don’t have a voice this powerful or such a ponderous stage presence. My interpretation can be aligned towards Karola Ágai’s one, who put the accent mainly on bel canto traditions. I have to make the audience accept my softer, more lyrical silhouette in this role. I act somewhat younger mother. I even got criticised that I was too young and too kind.
I try to begin from the music, and there it is: a wonderful little trio, when Erzsébet is enjoying her children, and for me this is her dominant feature, the love for her children, not the nation’s first widow. I’m not interested in the politician, but in the mother. Yes, she is ready to challenge the king in the oath scene, and her eyes can scatter thunders, but her main motivation is definitely the motherly love. Let us not forget, that the historical Erzsébet was only forty-seven at that time, so young as we see it today. I do not imagine her as a stone-hard figure. I felt at the show that the audience was very welcoming for this interpretation.