Ghena Dimitrova - Interview about Loreley, Catalani (Verona, 1993)

Ghena Dimitrova is interviewed by Enrico Stinchelli after the premiere of Catalani's Loreley in Verona, Italy on 5 February 1993 (in Italian, see below for an English translation).
The video of the performance can be found here: • Ghena Dimitrova - Lore...
Walter is Giorgio Merighi and the conductor is Gianfranco Masini. The orchestra is that of the Ente Lirico Arena di Verona.
ENGLISH TRANSLATION
Enrico Stinchelli (ES): Ghena Dimitrova, Loreley, dealing with a very difficult, very complex, new character. Have you sung it before?
Ghena Dimitrova (GD): No, I sang a Loreley of Shostakovich.
ES: Very interesting!
GD: Yes.
ES: Tell us. Let us make a comparison right away.
GD: That one was much more difficult, because Shostakovic is something else. Then, in addition, it was a symphony, for bass and soprano, on the same subject, on the poems of García Lorca. To tell the truth, I remember it was very difficult, because it was in 1972 at Piccola Scala. In contrast, this is a wonderful opera. Yes, there are difficulties, but if you have seen tonight’s performance, not only we made a good performance, but the music is very interesting - there is nowhere you can get bored. In short, I tried to respect what the composer wanted. In Verdi’s repertoire, these pianissimos can be found for instance in Don Carlos, in Elisabetta. I used to have them beautiful years ago. I am saying ‘years ago’. It's not that I don't have them today, but because I am no longer given this repertoire. Here by putting myself to test with the first act which is Wagnerian at the end and with the second act which has those pianissimos and also the third act, clearly I still have this technique that I had when I was younger, after so many performances of Turandot, Macbeth, and Nabucco.
GD: If certain pages were written half a tone below or above, it would be much more comfortable, either for a higher voice or for our voice, for our type of voice. It is not comfortable. We are not comfortable everywhere. And I found myself as in a comparison, as if putting the right shoe on the left foot. So it should be sung by those who know how to sing.
ES: Therefore, one has to get there after a long training, possibly after operas of a different nature.
GD: Yes
ES: Do you think that your path, that is to have reached Loreley after Nabucco, after Turandot, after all the operas you sang, Macbeth, etc., could be a good way to get to this opera?
GD: It could be, but not necessarily, because in parallel with this opera I am rehearsing La Fanciulla del West again, and I already feel much more comfortable in La Fanciulla del West. Indeed Puccini proposes another type of singing, of breath, maybe because I am already used to that style. This opera is different. Anyway, what pleases me is that it gives the opportunity to perform.
ES: Are you happy with the reception of the audience in Verona, who had not heard this opera since thirty-five years?
GD: Yes, I am very happy, because for a premiere, which is usually attended by, let us say, the people of the premiere, we got a lot of applause, and I think we have conveyed the enthusiasm to the audience and have created the legend, together with the director and the conductor.
ES: Then, we wish you the best of luck for your activity. Which are your next engagements?
GD: Unfortunately, I now leave this performance of the 11th - I dropped one already - I only do two performances, and I am going to the Metropolitan, because I am already late. I will do La Fanciulla del West. And then I will return to Genoa for Turandot.
ES: Break a leg, Madame!
GD: Thanks!

[@Tkimba2]

Stupenda Ghena

[@claudioalbanese427]

Grazie per questa intervista 🙏

[@cimbassovr]

GHENA DIVINA❤

[@Tenortalker]

Ghena always impressed me by the way she kept a lot of flexibility and range of dynamics in her voice. She was persistently being asked to sing Abigaille , Turandot , Gioconda , the big dramatic repertoire and her voice was enormous, but she had such a good technique. A great singer and a great lady.