Elena Mikhailenko: “Aida” brought me back to the theatre

29.01.2014

Elena Mikhailenko: “Aida” brought me back to the theatre

On February 4th 2014 Helikon-opera theatre will perform the concert version of G. Verdi’s “Aida” in Dmitry Bertman production in Svetlanovsky hall of Moscow International House of Music.
Almost 20 years ago Helikon’s “Aida” became the revelation for Russian theatre scene. The year of its premiere – 1996, a year of scary events in Chechnya – added military details. Now “Aida” is presented on a different scene in a country, which is quite different, but still it is one of the favourite production among public.

The soloists of the theatre Elena Mikhailenko (Aida), Vadim Zaplechny (Radames), Ksenia Viaznikova (Amneris), Sergey Toptygin (Amonasro), Alisa Gitsba (High Priest), as well as Mikhail Guzhov (Ramphis), Alexander Kiselev (The King of Egypt), Mikhail Seryshev (The Messenger) are engaged in the performance. Conductor Vladimir Ponkin.

Just before the performance we spoke to Elena Mikhailenko, one of the leading soloist of “Helikon-opera”, who sings Aida.

- Elena, there are many versions of “Aida” in the world. What is the specific feature of Helikon’s production, which made it famous at Moscow theatre scene?
– ”Aida” is one of the most chamber Verdi’s operas. The action is concentrated in arias, duets, terzettos. The specific feature of Bertman’s “Aida” is that the performance is about people, not about elephants. Relations between people are at the foreground, not the pomposity or demonstration of characters. And this is beautiful, this is a real Art! 

– Was it Dmitry Bertman, who offered you to make your debut as Aida in Paris?
– Yes, I made my debut in this role in Paris in 2008. It was a happy chance, which Dmitry gave me. After confinement I was in a real deppression, it wasn’t easy to live without my favourite theatre. And Dmitry called me and said: “Stop staying at home! It is time to get back to work! You will sing “Aida” in two months”. It was a shock and a hapiness at the same time!. I started to prepare, to study my role, not to let my theatre down. And I succeeded. I overcame this stage and hope I justified theatre’s confidence. 

– The stage directors were making Aida cold, fresco type. What is Helikon’s Aida in your view?
– Helikon’s Aida is a strong woman. She is a tamed tsarina, not the slave. She is torn in between, she is loving, devotional, sincere. She is REAL, without transformations. And at the same time she is beautiful and sexy, otherwise it wouldn’t be interesting.

– What is the difference between the concert version and theatre’s production?
– The concert version doesn’t influence the quality of performing, though it may sound a bit more “academic”. My Aida has great partners and I am sure the concert version will be as beautiful as the stage one and will deliver the emotional atmosphere of the opera.

– Do you believe Aida’s problematic is actual for today?
– Unfortunately, it is always actual. I’d like to sing opera where there is no faithlessness, jealousy, struggle for power, where there is only love and beauty!