Elīna Garanča: The Magic of Creating Intimacy

“Opera is a marathon, not a sprint.” With this phrase, Elīna Garanča sums up not only her advice for young singers but also the key to a career built on hard work, intelligence, self-knowledge, and, of course, a huge dose of talent, both in opera theater and in chamber music and concerts. Six years after her debut in Buenos Aires, the great Latvian mezzo-soprano returns to the Teatro Colón to offer a recital as part of the AURA series, sponsored by Revista Ñ : it will be On October 20th, alongside one of the most experienced pianists in vocal repertoire: the Scottish Malcolm Martineau, his long-time collaborator.

Garanča tells Ñ that the program will be a journey through the Italian and French repertoire, with a possible foray into German. “As this is my second visit to the Teatro Colón, this time with a piano, I need to acknowledge the special magic of singing songs in such a magnificent and grand theater. The challenge, and also the beauty, is in creating intimacy, in reaching every person in the room with just the piano and voice, with less effort than a large, sonorous, and imposing orchestra and the full power of operatic arias would require. I also felt it was important to share the mezzo-soprano's 'golden repertoire,' which of course includes some of the great operatic arias. My guiding principle was the contrast and balance between intimacy and grandeur, between the familiar and the lesser-known. Ultimately, I want to offer a program full of color, energy, and emotional variety, so that the audience can experience both the delicacy and power of this music,” she reveals.

–Your ties to the Hispanic world date back very early. Is the same true for Latin American music and culture?

Spanish music was an inseparable part of my musical childhood, and my mother, who later became my teacher, used to sing Spanish songs. Teresa Berganza drew me even further to zarzuela, and that initial fascination transformed into a very dedicated following of the genre and its performers, such as Victoria de los Ángeles and Pilar Lorengar. But Latin America added another dimension. Over the years, I became increasingly drawn to its music, because it carries not only the Hispanic heritage but also that unique blend of heartfelt rhythms, colors, and a kind of joyful melancholy. On my album Sol y Vida, I chose songs I've been performing in concert for many years: from Piazzolla's Yo soy María to Gracias a la vida, Granada, and La Llorona. Singing Latin American repertoire is like returning to a home I didn't know I had. The more the years go by, the more I'm drawn to its openness and that somewhat urgent intensity.

One of Garanča's defining traits is his ability to take on each new challenge head on, following the lead of composers and writers from the last quarter of the 19th century onwards, who in many cases took care to bring as much reality as possible into their operas. Regarding this passion for exploration, the mezzo-soprano responds: “When I take on a new role, I try to live in the character's world. I listen to as many different interpretations as I can, read the libretto carefully, and sometimes travel or do research to get a sense of the culture and atmosphere behind the story. It's not just about notes, but about understanding who that person is, what moves them, and how I can bring that to life on stage. Even in roles I've sung many times, each production is a new journey. Different stage directors, conductors, or colleagues always inspire me to see the character differently. For example, singing Amneris today isn't exactly the same as it was two years ago. Each time, I try to find something fresh, something true, so that the role always feels alive and, most importantly, believable to the audience.”

The lead role in Carmen, one of her most acclaimed performances, required special fieldwork. “I really wanted to understand not only the music, but also the world behind the character,” she says. “Together with my husband [note: conductor Karel Mark Chichon], we traveled around Spain and discovered places tourists don't usually see. We went to a bullfight in Seville to experience the atmosphere of the bullfighters, but we also spent time in remote villages where we met and talked to Roma people. What struck me was how misleading the usual clichés can be. I met blond, blue-eyed Roma people who at first glance seemed very introverted, even shy. But when you spend time with them, you sense an incredible temperament and an almost animal energy within them. That changed my view of Carmen. She doesn't need to scream or shout to be powerful. True intensity can come from silence, from an inner fire. That discovery profoundly influenced my approach to the role.”

–When you're invited to an opera production, are you interested in knowing the director's vision beforehand? And what happens if it doesn't match your own concept?

–As a general rule, I don't like to expect anything from anyone. When one makes music or theater, everything should revolve around love, desire, and working together, not expectations. For me, it's essential to know if the vision respects the music, the story, and the psychology of the character. I always want the director to be open to new ideas and I don't expect their concept to be identical to what I imagine, because opera is a collaboration, and often a new perspective can be inspiring. But if I feel the concept goes completely against the score, or reduces the character to something I can't justify artistically, then it becomes more difficult. Ultimately, working together instead of against each other, placing trust and faith in each other above personal or artistic differences, always allows us to achieve much more.

–How do you measure your own strengths, for example when taking on a new role?

–I always start by listening carefully to my own voice and reflecting on my physical and emotional readiness. It's important to be honest with yourself: there's no point in assuming anything that could damage your voice or your confidence. I ask myself: Do I have the necessary stamina? Can I bring the character to life without forcing anything? Also, if I feel I can't yet reach the psychological depth of the character, or that it doesn't match my current state, I take a step back and give myself time to grow and adjust, so that when the time comes to play the character, the characterization is honest and authentic.

*Elīna Garanča will perform on October 20 at the Teatro Colón as part of the AURA series, sponsored by Revista Ñ. The program continues with Nadine Sierra (December 3).