Interview with tenor Tomáš Černý
This interview was conducted prior to the Christmas holidays, at a time when Tomáš Černý was devoted to the intensive study of Wagner’s Lohengrin. Despite his packed schedule, he spared a little time to answer questions that naturally included a degree of taking stock.
How has the year gone by been for you?
2012 brought me three new roles, so it was a work-filled year. I was pleased to receive an invitation to the Theatre Basel, which, incidentally, the German monthly Opernwelt gave the title Opera House of the Year two years in a row (in 2009 and 2010). I was involved in a production of Janáček’s Káťa Kabanová there. Due to the time demands of the engagement mentioned, I had to forego a summer holiday. In view of the unclear situation surrounding the merging of the Prague theatres, I spent most of the year on the road. I received four nominations for the Thálie award for the role of the knight Rinald in Dvořák’s Armida at the National Moravian-Silesian Theatre, so we’ll see how it goes in March.
Despite your packed work diary, did you indulge yourself in any experiences as a listener? If so, what were you transported by?
For me an absolute surprise, which I came to completely accidentally, thanks to Facebook, was the 1st Symphony in E major by the practically unknown Austrian composer Hans Rott, a student of Anton Bruckner. To me, it represents the missing link between the works of Richard Wagner and Gustav Mahler. The talented composer Rott wrote this opus when he was 20. Unfortunately, he died very young, at the age of 26.
Thank you for the interesting tip. Getting back to your work, which role do you perform most often at present? And what characters do you most enjoy playing?
In the autumn, the focal point of my repertoire consisted of Czech operas by Smetana, Dvořák and Janáček. In concrete terms, I sang Jeník (The Bartered Bride), Lukáš (The Kiss), the Prince (Rusalka), Rinald (Armida), and Boris and Tichon (Káťa Kabanová). As for my favourites, it’s hard to say. There are so many beautiful roles in my repertoire, that it’d be difficult to pick the best… From Czech operas, it’s probably Laca in Jenůfa, and from world operas Cavaradossi from Tosca and Don José from Carmen.
I believe you encounter the conductor Mr. Lenárd quite often in opera productions. How do you regard him?
I regard Mr. Lenárd as an icon of the conducting art. I always look forward to opera performances and concerts at which we will meet. Actually, performances of Puccini’s La bohème and Tosca that were conducted by Mr. Lenárd were crucial to my development.
I’m sure you were pleased by his invitation to the Prague Radio Symphony Orchestra concert. From what I’ve seen on your website, it’s your first performance of the Faust Symphony. What have your thoughts been while working closely on Liszt’s piece?
Since my youth, I’ve been a passionate admirer of Liszt’s piano pieces. I discovered his symphonic works later, when I began to sing. My first professional encounter with Liszt was at the festival in Rheingau, in the monumental Christus oratorio. Now, while I’ve been studying the Faust Symphony, I’ve often thought about how the piece might sound in a transcription for piano that the Hungarian pianist Ervin Nyiregyházi carried out in 1978.
Faust sold his soul. What have you sacrificed for recognition and professional advancement?
Just a small thing – my entire life!
Tell us, what do you do when you’re not singing?
When I’m not preparing new projects and I’m not doing rehearsals or on stage, I’m catching up with the backlog arising by my previous activities. When it works out that I really do have free time, I rest or devote time to my hobbies: sci-fi, listening to symphonic music, and spiritual literature.
Finally, what are you looking forward to in the near future? Where is your repertoire headed, and what would you invite our audience to?
I’m looking forward to skiing and the sea, when I’ll be able to switch off completely. At present, I’m preparing for the largest role of my career, and one that will influence its further development, and that is Wagner’s Lohengrin. I’m also going to encounter the work of the English composer Edward Elgar for the first time; his oratorio The Dream of Geront will be played on 12 May at the Dresdner Musikfestspiele festival. And I’d like to invite viewers to the State Opera for beautiful, classical opera productions, such as Rusalka, Carmen and La bohème.
