JENNY DRIVALA
SOPRANO
"Opera has expanded too much, without really caring about initiating younger generations into this art, just as it happened with practically all classical arts."
Athens, 2012
We are very excited to present you the interview of the famous Greek soprano Jenny Drivala, or better: La Drivala. When the Italians put an article before a surname of an opera singer, it is for serious reasons! After the Callas legacy, many sopranos tried to win her empty throne. One did manage to make it and create her own bright star: Jenny Drivala. Greek, gorgeous, with an amazing voice, an extraordinary technique and a stage presence that makes the public hold their breath.
By @kassandra_dimopoulou_official
By @kassandra_dimopoulou_official
What was the thing that attracted you to start classical singing?
My first contact with opera was through movies: TROVATORE (Renata Tebaldi singing, but not performing), AIDA (again Renata Tebaldi singing-Sofia Loren performing). The impact was tremendous. I started “imitating” scenes from those movies. Until I was 16 and allowed to have singing lessons.
You have studied music, but also philosophy and drama. Do you think that these different studies affected your artistic personality and if yes, in which way?
I am sure they did. I can’t really say to what degree or how would it be if I had studied Law instead. Theatre studies were far too important. I was taught how to approach a role, how to analyse and build it, how to create an interaction with my partners. I consider it necessary for all opera singers who want to go on stage. Ballet studies were important to me, because, besides building a strong muscular system, I also learned how to have control on all my movements and be able to keep an almost choreographic exactitude whenever needed.
What was the moment your career took off?
I think it was year 1983, my 3rd year of professional singing, when I sang LUCIA in Bari with Jose Carreras and after that Sonnambula in Toulouse with Michel Plasson conducting. They were my 3rd and 4th production altogether (the first being Lucia at the National Opera of Greece and the 2nd TRAVIATA again at the NO of Greece, in Michael Kakogiannis’ staging).
From all the roles that you have sung, which do you think is the one you understand and connect better with and why?
It seems to me that it must be Violetta in La Traviata. I have sang it the most and I never get tired of it, always discovering something new in it. Of course, it is great material!
You sung in many important opera theatres worldwide, among them, La Scala. Was this debut any different than the others?
I must admit that the nervous pressure was much stronger.
How did it feel to be a new young Greek soprano singing in La Scala some of the repertory of La Callas? Did the people compare you with her and how did that make you feel?
It made the responsibility even bigger. The comparison to Maria Callas was inevitable and started pursuing me from my first steps. I was Greek, had black hair, a dark voice and was singing mainly repertoire that she sang as well. It was also the “fashion” among opera lovers to look always for a “substitute “ for their Divina. I was flattered by it, but also knew that it was dangerous and wrong at the same time, given the fact that every artist should be appreciated for his unique personal qualities and not because he reminds us of somebody else. It also can easily lead a young artist to imitating. After a while, I completely stopped listening to Callas’ recordings, in order to make sure that I would not fall into the “pit “ of imitation.
What do you think about critics generally?
They should be very careful in their opinions because they form the aesthetics of the public and this is a huge responsibility. They should make sure that they are not influenced by personal likes or dislikes and are as objective as possible, though art in generally is very much a subjective matter.
How different is a role and its music when it starts to come alive on a real stage than when it's sung in a rehearsal room? Does the staging affect the singing in any way?
Definitely the size and quality of the performing space affects the interpretation, both in singing and acting. For example, in a very big space like the Arena di Verona, people cannot see your face, so you must use your body language much more. Similarly, all the detailed musical nuances you can use in a small hall will not work in a big one, with worse acoustics. The staging should affect positively the singing and make you understand the role better and express yourself better through music. If it doesn’t then it means that it is not the right one.
How would you describe your learning process?
I first read the libretto of the opera, then I listen to all of it. The next step is to isolate my role, find out which are the most difficult parts. I first learn the music, singing it on the vowels only and after this is done I put in the consonants. When my body and mind know the music and words well, I start with the interpretation part, with decisions that I make either on my own or at the suggestions of the conductor and producer.
You worked in the National Opera of Greece for almost 20 years. How do you feel about the years you worked in the NOG and what is your opinion about it nowadays? Do you think opera in Greece is in a good place?
Actually after my two initial productions in Greece, I sang another 21 years at the National Opera. I was lucky to live through the best years of the National Opera (the Nineties until 2004, the Olympics Year, whence the clock started ticking on the reverse for Greece). I took part in some memorable performances, that could stand proudly in every major opera house (such as, The Siege of Corinth in’91, Faust at the Herodes Atticus in ’94, Boheme in ’97, Anna Bolena, in 2000, Don Giovanni in 2004. To these I must add the Traviata by Cacoyannis in ’82, practically, by now, a historical production. Of course I must mention also the productions I took part in, at the Megaron Moussikis, the Athens Concert Hall: The Return of Helena and Antigone, both world premieres and Medea. After 2004 with the change of direction, the decadence started, based on spending lots of money, for which we are now in debt, on foreign companies and artists, that for the most part were not worth their fees, neglecting the Greek artists and creating a gap of generations, since disillusioned Greek opera singers left or changed profession. And all this at the name of a misunderstood attempt to make out of the National Opera an International theatre. It left the NOG with a huge debt. If to this you add the financial crisis, you can get the picture of what NOG is and can do today, in spite of whatever sincere and good willed attempts the current administration makes. Let’s hope that this cycle will end as soon as possible and give way to something new.
Do you think opera worldwide is in a good place?
Opera worldwide is in crisis, as most sectors of our social life and civilization are nowadays. It has expanded too much, without really caring about initiating younger generations into this art, just as it happened with practically all classical arts... the 21st century is the second Middle ages!
What would you advise a young singer- not for the singing, but for a happy life?
I have no recipe for happiness.
Do you see any differences in the opera world in the last 20 years? If yes, what is different nowadays?
There is a shift of attention on what is important, which is making us move away from the main element, which is the performer, and move towards exterior factors that should be only complementary to the performers. Have you noticed that on the posters of the opera houses you can read who the assistant choreographer or the assistant scenographer is, but not who is singing Salome, or Otello or Norma?
Do you think family and career of an opera singer go well together?
Family and professional life usually are in conflict, especially for women. Though, this does not mean that one should not give it a try!
You are starting -or better say, continuing- a new carrier in the theatre world. How do you feel about that new experience in your life?
I had already had some experiences in prose theatre in the past years, mainly ancient tragedy, but I could not follow it persistently until now, because of the nature of my contract with the National Opera. There are of course, similarities, but also differences, concerning the internal process of presenting-becoming a character. But I feel lucky, because, just as my theatre experience helped me with opera, in a similar way, my operatic experience helps me with prose theatre.
Do you think Greece honours the Greek artists enough?
Unfortunately, Greece, or, I should rather say, the elite that dictates decisions in Greece, crucifies its children. They are driven by a minority complex, rejecting and trying to diminish most of the cultural life in this country, with few exceptions. Although I, personally, should not complain, because I was given the possibility to be a part of important cultural events, this did not happen until I was first accepted and praised abroad. The same thing exactly happens with all my other Greek colleagues and other artists. Of course, from the moment you start being considered a “local” artist, the ruling system starts working towards your demolition. It has been damaging Greek society and their way of thinking for decades. I wonder how many generations it will take in order to reverse that process and start having confidence and faith in whatever has on it the stamp of being Greek- contemporary Greek. Maybe every thing has to be abolished first. And this is what we are experiencing in the last 2 and a half years.
Art is...
I find it difficult to give a general idea about art. Everybody has his personal view.
For me, Art is the ability to start from a subjective point of view and succeeding into involving and presenting in it something objective, either mentally or emotionally…
My first contact with opera was through movies: TROVATORE (Renata Tebaldi singing, but not performing), AIDA (again Renata Tebaldi singing-Sofia Loren performing). The impact was tremendous. I started “imitating” scenes from those movies. Until I was 16 and allowed to have singing lessons.
You have studied music, but also philosophy and drama. Do you think that these different studies affected your artistic personality and if yes, in which way?
I am sure they did. I can’t really say to what degree or how would it be if I had studied Law instead. Theatre studies were far too important. I was taught how to approach a role, how to analyse and build it, how to create an interaction with my partners. I consider it necessary for all opera singers who want to go on stage. Ballet studies were important to me, because, besides building a strong muscular system, I also learned how to have control on all my movements and be able to keep an almost choreographic exactitude whenever needed.
What was the moment your career took off?
I think it was year 1983, my 3rd year of professional singing, when I sang LUCIA in Bari with Jose Carreras and after that Sonnambula in Toulouse with Michel Plasson conducting. They were my 3rd and 4th production altogether (the first being Lucia at the National Opera of Greece and the 2nd TRAVIATA again at the NO of Greece, in Michael Kakogiannis’ staging).
From all the roles that you have sung, which do you think is the one you understand and connect better with and why?
It seems to me that it must be Violetta in La Traviata. I have sang it the most and I never get tired of it, always discovering something new in it. Of course, it is great material!
You sung in many important opera theatres worldwide, among them, La Scala. Was this debut any different than the others?
I must admit that the nervous pressure was much stronger.
How did it feel to be a new young Greek soprano singing in La Scala some of the repertory of La Callas? Did the people compare you with her and how did that make you feel?
It made the responsibility even bigger. The comparison to Maria Callas was inevitable and started pursuing me from my first steps. I was Greek, had black hair, a dark voice and was singing mainly repertoire that she sang as well. It was also the “fashion” among opera lovers to look always for a “substitute “ for their Divina. I was flattered by it, but also knew that it was dangerous and wrong at the same time, given the fact that every artist should be appreciated for his unique personal qualities and not because he reminds us of somebody else. It also can easily lead a young artist to imitating. After a while, I completely stopped listening to Callas’ recordings, in order to make sure that I would not fall into the “pit “ of imitation.
What do you think about critics generally?
They should be very careful in their opinions because they form the aesthetics of the public and this is a huge responsibility. They should make sure that they are not influenced by personal likes or dislikes and are as objective as possible, though art in generally is very much a subjective matter.
How different is a role and its music when it starts to come alive on a real stage than when it's sung in a rehearsal room? Does the staging affect the singing in any way?
Definitely the size and quality of the performing space affects the interpretation, both in singing and acting. For example, in a very big space like the Arena di Verona, people cannot see your face, so you must use your body language much more. Similarly, all the detailed musical nuances you can use in a small hall will not work in a big one, with worse acoustics. The staging should affect positively the singing and make you understand the role better and express yourself better through music. If it doesn’t then it means that it is not the right one.
How would you describe your learning process?
I first read the libretto of the opera, then I listen to all of it. The next step is to isolate my role, find out which are the most difficult parts. I first learn the music, singing it on the vowels only and after this is done I put in the consonants. When my body and mind know the music and words well, I start with the interpretation part, with decisions that I make either on my own or at the suggestions of the conductor and producer.
You worked in the National Opera of Greece for almost 20 years. How do you feel about the years you worked in the NOG and what is your opinion about it nowadays? Do you think opera in Greece is in a good place?
Actually after my two initial productions in Greece, I sang another 21 years at the National Opera. I was lucky to live through the best years of the National Opera (the Nineties until 2004, the Olympics Year, whence the clock started ticking on the reverse for Greece). I took part in some memorable performances, that could stand proudly in every major opera house (such as, The Siege of Corinth in’91, Faust at the Herodes Atticus in ’94, Boheme in ’97, Anna Bolena, in 2000, Don Giovanni in 2004. To these I must add the Traviata by Cacoyannis in ’82, practically, by now, a historical production. Of course I must mention also the productions I took part in, at the Megaron Moussikis, the Athens Concert Hall: The Return of Helena and Antigone, both world premieres and Medea. After 2004 with the change of direction, the decadence started, based on spending lots of money, for which we are now in debt, on foreign companies and artists, that for the most part were not worth their fees, neglecting the Greek artists and creating a gap of generations, since disillusioned Greek opera singers left or changed profession. And all this at the name of a misunderstood attempt to make out of the National Opera an International theatre. It left the NOG with a huge debt. If to this you add the financial crisis, you can get the picture of what NOG is and can do today, in spite of whatever sincere and good willed attempts the current administration makes. Let’s hope that this cycle will end as soon as possible and give way to something new.
Do you think opera worldwide is in a good place?
Opera worldwide is in crisis, as most sectors of our social life and civilization are nowadays. It has expanded too much, without really caring about initiating younger generations into this art, just as it happened with practically all classical arts... the 21st century is the second Middle ages!
What would you advise a young singer- not for the singing, but for a happy life?
I have no recipe for happiness.
Do you see any differences in the opera world in the last 20 years? If yes, what is different nowadays?
There is a shift of attention on what is important, which is making us move away from the main element, which is the performer, and move towards exterior factors that should be only complementary to the performers. Have you noticed that on the posters of the opera houses you can read who the assistant choreographer or the assistant scenographer is, but not who is singing Salome, or Otello or Norma?
Do you think family and career of an opera singer go well together?
Family and professional life usually are in conflict, especially for women. Though, this does not mean that one should not give it a try!
You are starting -or better say, continuing- a new carrier in the theatre world. How do you feel about that new experience in your life?
I had already had some experiences in prose theatre in the past years, mainly ancient tragedy, but I could not follow it persistently until now, because of the nature of my contract with the National Opera. There are of course, similarities, but also differences, concerning the internal process of presenting-becoming a character. But I feel lucky, because, just as my theatre experience helped me with opera, in a similar way, my operatic experience helps me with prose theatre.
Do you think Greece honours the Greek artists enough?
Unfortunately, Greece, or, I should rather say, the elite that dictates decisions in Greece, crucifies its children. They are driven by a minority complex, rejecting and trying to diminish most of the cultural life in this country, with few exceptions. Although I, personally, should not complain, because I was given the possibility to be a part of important cultural events, this did not happen until I was first accepted and praised abroad. The same thing exactly happens with all my other Greek colleagues and other artists. Of course, from the moment you start being considered a “local” artist, the ruling system starts working towards your demolition. It has been damaging Greek society and their way of thinking for decades. I wonder how many generations it will take in order to reverse that process and start having confidence and faith in whatever has on it the stamp of being Greek- contemporary Greek. Maybe every thing has to be abolished first. And this is what we are experiencing in the last 2 and a half years.
Art is...
I find it difficult to give a general idea about art. Everybody has his personal view.
For me, Art is the ability to start from a subjective point of view and succeeding into involving and presenting in it something objective, either mentally or emotionally…
