January 29-February 4, 2004

art

Ewa Podles

Interview by David Shengold

Polish contralto Ewa Podles would be many listeners’ nominee for the most exciting classical singer now performing. Wedding phenomenal musicianship and agility to a very individual, elemental sound, she brings integrity and passion to any music she confronts.

In a real coup, Philadelphia’s Opera Company presents her first-ever performances as the treacherous but ultimately heroic Princess Eboli in Verdi’s powerful Don Carlo Jan. 30 through Feb. 15.

In the politics-and-love-don’t-mix brew of this Schiller-based Spanish drama, Eboli’s the king’s mistress, the queen’s friend (and betrayer) and the prince Don Carlo’s would-be love, ready to take on even the Inquisition to save him. Her music (including two showstopping arias) demands in turn flamenco effects, light irony, outraged fury, resonant low tones and a high C-flat (many soprano roles don’t go that high). People are flying in from Europe to hear Ewa Podles tackle this. The singer, whose impressive discography is growing (try Naxos’ Rossini Arias or Delos’ Handel Arias or Russian Arias), gives her third recital for the Chamber Music Society Feb. 20, scheduling Polish, Czech and Spanish songs.

City Paper: What are your impressions of Don Carlo?

Ewa Podles: I like very much this opera. The libretto is interesting, the persons sketched in a magnificent way and of course it's fantastic music!

CP: What are your expectations of Eboli's part? The range is incredible even by Verdi's standards. Do you find her a sympathetic character?

EP: Eboli is one of the most beautiful female roles. It demands from the performer not only incredible vocal possibilities, but a stage temperament as well. To sing it, even beautifully, is not enough. I like very much Eboli, because she is a real woman. Everything she is doing and feeling is characterized by immense passion. When she loves, she does it almost till madness. When she hates, she is ready to kill like a wounded tiger. When she realizes how much harm she did to others, she is ready to risk her own life to protect them. She is not a bad woman. Everything she did is a result of her beauty and of her big temperament; she is perfectly conscious of this and that is the reason, when overwhelmed by despair, that she curses her beauty and herself.

CP: Have you seen any Ebolis who influenced your conception of the role?

EP: [Greek mezzo] Agnes Baltsa impressed me. It is extremely difficult, almost impossible, I think, to influence me. I have been condemned to be original. I have the courage to be myself regardless of the price I have to pay for it. I am like that. Love me or leave me!

CP: Have you ever seen or studied Verdi's opera in its original French version, Don Carlos?

EP: I saw it at La Scala, many years ago [under Claudio] Abbado. Maybe the French version is slightly more dramatic? It's also [different] because of the language: Italian is softer (morbido); French harder (duro).

CP: You have appeared to great acclaim in Philadelphia in both orchestral concerts and recitals. Have you had a chance to form an impression of the city? Have you visited the museums or monuments?

EP: Our former stays were rather short. We hope to see a lot on this journey.

CP: Have you encountered members of the sizable local Polish community in your audiences?

EP: Quite a lot of Poles came to greet me after concerts. This time we have already fixed a special meeting with the Polish community.

Don Carlo runs Jan. 30-Feb. 15, $5-$155, Opera Company of Philadelphia at the Academy of Music, Broad and Locust sts., 215-893-1999.

-- Respond to this article in our Forums -- click to jump there