Pretty Yende with Juan Diego Florez and ensemble in the Mets production of Le Comte Ory

Mpumalanga to Milan
and back
Images courtesy of the New York Metropolitan Opera 18 / classic feel

From

When Classicfeel published its first cover feature on Pretty Yende, the young South African soprano was just about to appear at the September 2009 edition of Rand Merchant Bank Starlight Classics and was making her entry into the international opera scene as a member of La Scalas Academy. Four years later, as she explains in another Classicfeel exclusive interview, she finds herself on the verge of stardom, having established her name in Europe and made her debut at the Met. Now, this talented and extremely dedicated artist is focused not only on continuing her rise but also on finding ways to bring her success back home.
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n 2009, Pretty Yende, then already known to Capetonian opera lovers as one of the most promising and remarkable talents among that citys operatic community both in theatrical and academic circles made international headlines by winning the prestigious Hans Gabor Belvedere Singing Competition. The then 24-year-old singer also entered the Academy at Teatro alla Scala in Milan, Italy. The young hopeful from the Mpumalanga town of Piet Retief had gained entry into the big leagues of international opera. While, on the one hand, she was in an enviable position from a professional point of view, this opportunity came with considerable personal challenges. Sitting in an upmarket Johannesburg restaurant, Yende speaks openly, easily and casually, reminding us that, behind the hype and praise being heaped on her by the operatic world and the press, she is still a down-to-earth, small town South African girl at heart albeit a very talented and determined one who certainly knows her own

The South African government is actually starting to realise the importance of opera and that South African singers are making a huge impact overseas. More than being pleased that I was receiving this recognition, it also made me hopeful that South Africa is finally opening its arms to its opera singers.
mind and possesses a powerful capacity for strategic thinking. The formidable combination of strong self-belief, humility and sheer passion for her chosen career comes through clearly as she looks back on those earlier days. From a personal point of view, she says, considering her move to Milan, it was the hardest thing Ive ever had to do. I thought I knew how to speak Italian until I got there and realised that I really only knew three words: s (yes), no (no) and cosa (what). Also, culturally, its just so different. It didnt help that I arrived in November so it was all grey and wintry. I would wake up in the morning and there would be no sun, and then, by the time I got back home at the end of the day, the sun was gone again. I just missed the sun so much. I Skyped a lot with my parents I would literally leave the Skype running so I could always see or hear something I could relate to. I did feel quite imprisoned at first. I could not express myself, I could not see, hear, taste or smell anything that I had been familiar with all my life. All my human senses for the past 24 years had just been shut off. Here I was, suddenly thrown into a completely different culture different weather, different food. So it was very hard. From a professional perspective, there are few better opportunities for a budding opera singer than a place in La Scalas Academy. Of

course, there is a reason why it is so sought after: the standards are extremely high and the young artists are expected to be able to keep up. You just have to get up to speed with everything faster than you think, says Yende. There is no excuse for not understanding something. By the time you get there, youre supposed to know everything. Obviously for me, the language barrier was the hardest part. I had to do double work until I really got to terms with the language. The school offered language lessons twice a week so I was able to catch up that way. The programming itself was very difficult it required a lot of expertise. There were twelve of us in the programme and we all came from different countries so it was very diverse. It was all so new I had only been involved with opera for six years and here I was among Russians, Germans, Italians, Georgians and this entire new world was opening up. It was quite overwhelming. Right from the time that Yende first began her studies at the University of Cape Town (UCT), she took a highly strategic approach to her craft, weighing each move and determining which possible course would be the most effective in progressing her career. Her decision to participate in as many singing competitions as possible was driven by this strategy. The reason I chose to enter competitions was because, once I had finished my courses in Cape Town, it seemed that there was no other way to progress further. I thought to myself, I dont want to stay here I want to know more. Theres a whole world out there, I want to see what other people my age are doing. How far am I really? Is this worth pursuing? My way of thinking then was that, if I could get someone to sponsor my ticket for one competition, thats a way for me to sing to 50 different people within the industry all at once and that way I dont have to ask for thousands of rands to do an audition tour. I could kill two birds with one stone: I would be auditioning in effect, whilst also seeing where I was in terms of what one would expect from a young singer. As she describes various points along her journey, Yende repeats what seems to be a mantra for her: Simplify! This is another of the secrets of her success while others may jeopardise their performances by being nervous or uptight beforehand, Yende makes a point of minimising or simplifying the situation in her mind before she goes on to perform. Life is difficult so I always like to make it as simple as possible, she says. Thus for example, before walking on stage at La Scala for the first time, she had made a point of eliminating all thought of the 2800-strong audience or the intimidating history of the place that has seen the very embodiments of opera stardom striding across the boards. Yende recalls her La Scala debut: One of the great things about the La Scala programme is that they really give students the opportunity to experience the stage, including taking part in a fully staged opera open to the public. Most young artist programmes dont do that. I was chosen to take part in a production in my first year and that was an experience I will never forget. What made it all the more special was that [highly regarded singer, opera director and teacher one of Yendes mentors] Angelo Gobbato flew from Cape Town to Milan, and a few of my friends from Cape Town also came to see my performances and that was

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amazing. With them there I actually felt like I was back in C6 that was a rehearsal room we used to use at UCT. So when everybody else was so uptight and nervous about it, I was able to minimise it. By minimising it, that whole space of 2800 people became just like a small rehearsal room and all the pressure of thinking that Maria Callas sang there or Montserrat Caballe sang there, or whichever stars are currently singing there I just didnt make that part of the deal and it was actually one of the most memorable debuts Ive had. At the beginning of this year, Yende made yet another remarkable debut when she fulfilled her dream of singing at New Yorks Metropolitan Opera, being called upon at the last minute to sing the role of Adle in Rossinis Le Comte Ory, when soprano Nino Machaidze had to back out as a result of illness. That showed me how courageous I could be, she says. Yende was at home in Piet Retief for Christmas, having just completed work on the 2012 season at La Scala, when she received an email from her manager asking if she had ever considered Le Comte Ory. The funny thing

aria, which is the most difficult part, I had already learned. The rest was mostly ensemble work, so I called my manager and said, I can do this. He chose that moment to tell me that it was with Juan Diego Florez, who had sung in this same production opposite Diana Damrau and Joyce DiDonato. It must have taken a steady and thorough application of her simplify and minimise policy to overcome this piece of intimidating news but, of course, she was never going to pass up on such an incredible opportunity. Three weeks later, after having learned her part at home, Yende arrived in New York just one week before opening night. When I first got there, the maestro was very nice to me. He said, Pretty, I wont make you sing yet. Just sit and listen to what weve been doing so far. And as they started, it finally hit me: Oh my God, Im at the Met. Im in the same rehearsal room where Maestro Levine has worked for decades. This is me, I am here. The next day I started tackling the score and rehearsing and I realised then what I had got myself into. I was hitting myself every second Why did you think

impressed with her performance and the audience response that they have asked to have her back as often as possible. They have already engaged her to take the role of Pamina in next years production of Mozarts The Magic Flute. Working alongside Juan Diego Florez on Le Comte Ory was not Yendes first encounter with this world of opera celebrity of which she seems set to become an integral part, but she admits to her usual calm and resolve having been shaken a little when she first began to work with him. It was like having to sing with Pavarotti for me because Juan Diego is the current king of tenors in the bel canto repertoire at least. The first rehearsal was terrible I couldnt sing. The conductor noticed because we had had sessions before so he knew what I could do and that somehow I just wasnt being myself. I said, Sorry, Maestro, Im having a bit of a moment here because Juan Diego is right next to me. I had met Juan Diego before at La Scala but this was a different thing. Here I was sharing a stage with him. But he was very supportive. He was one of the

sopranos dont attempt until much later in their careers: earlier this year, she was engaged to sing the lead role in a concert performance of Donizettis Lucia di Lammermoor in Cape Town. Yende calls this her most challenging work so far, and credits it with really helping her get to grips with the technical demands both musical and dramatic with which an opera performer has to grapple. Technically it helped me to tap into places that I never knew existed in me. The learning process of that role it took me about two years to really master it and I dont even think Ive started yet because I havent performed it on stage. I had been doing roles that were lighter, more fun, younger. This is a much heavier role and of course, one of the most famous parts of the role is that she goes mad. What do I know about madness? This is the opera that really taught me how to look at a role. I couldnt afford shortcuts, I couldnt just get away with singing well, so I had to get into all the intricacies of the role before I could sing it. At the moment, her most cherished aim as a performer is to sing

is that just the week before, I had been learning the aria from that opera. So I told him, Well, I love Rossini, Ive just been learning the aria but Ive never done the opera before I dont even know what the whole opera looks like. Then he calls me and he says, My dear, how about I give you an early Christmas present? How do you feel about making your debut at the Met in four weeks? Of course I said, Are your crazy?! Before making such a major commitment, Yende decided to download the complete score for the opera and see what she was dealing with. I saw that it was only two acts, and that the big

you could do this in a week? And this wasnt just any opera house, this was one of my dream opera houses. But it paid off. It certainly did pay off and the soprano made quite an impression on the Met audience. A review in the New York Times said that [Yendes] voice has a luminous sheen combined with steely resolve that powers both her clarion top notes and her outstandingly rich low register. She delivered some of the most difficult coloratura passages with scintillating precision, evidently at ease in this repertory. Her curtain call, says the same reviewer, was met by a storm of bravos, whistles and whoops. The management of the Met were so

first people to say to me, Alright, Pretty, no more rehearsing now. Just go home and watch a movie and just switch off. You know the opera and youre the star. Youre the saviour of this show so dont think about anything else. When it comes to her art, regardless of her recent successes, Yende sees herself as being in mid-development. She is still finding her voice and so is trying her hand at various roles and sounds. What is clear is that her voice, for now, is best suited to the bel canto repertoire, but she has also attempted difficult coloratura singing and even made a very impressive debut in a role that most

the leads in Donizettis Three Queens trilogy Anna Bolena, Mary Stuarda and Roberto Devereux. Donizetti is one composer that I immediately look to. Bellini is just right for my voice as it is now long legato lines, a warm sound. Just here and there he wants you to show off but its mostly small singing, which fits very naturally with my voice. But with Lucia, Donizetti took to me places that I never knew existed so I know that, aside from doing a staged version of Lucia, I really want to do the Three Queens. But I also love Verdi; I will do La traviata one day. I think that I can be one of the memorable Violettas provided I do it at the right time. Im still learning how my voice works until I can get

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to that point where I can say, This is who I am. Im still trying to find my identity as an artist. Its still a huge puzzle and Im enjoying sorting through all the pieces and slowly fitting them together. to that point where I can say, This is who I am. Im still trying to find my identity as an artist. Its still a huge puzzle and Im enjoying sorting through all the pieces and slowly fitting them together. Just after the Cape Town performances of Lucia, Yende received an email from the Presidency telling her that President Zuma had approved her as the recipient of the Order of Ikhamanga in Silver, which is awarded for excellent achievement in arts, culture, literature, music, journalism and sports. The South African government is actually starting to realise the importance of opera and that South African singers are making a huge impact overseas. More than being pleased that I was receiving this recognition, it also made me hopeful that South Africa is finally opening its arms to its opera singers. Yende is currently in the midst of an extended stay in South Africa, which is really all about bringing some of the benefits of her international success back home. She is set to give four concerts while she is here two in Johannesburg, one in Pretoria and one in Piet Retief. The first concert, scheduled for 1 August, is a gala dinner scheduled to be held at Gold Reef City, at which companies are invited to buy out tables for staff and/ or clients. The proceeds will go towards the newly set up Pretty Yende Foundation, which is aimed at facilitating music education for children in rural and out-of-the-way places such as Yendes own hometown. The second and third concerts are open to

the public and will be held at the Linder Auditorium on 2 August and at the ZK Matthews Hall at the University of South Africa in Pretoria on 3 August. The last concert is a free one, which will be held in Piet Retief for the benefit of Yendes old friends and neighbours. [Editors note: apologies to our readers for the late notice these dates were only confirmed after the publication of our July issue. However, Pretty Yende is due to return to South Africa for more performances in November 2013. Check upcoming issues of Classicfeel as well as www.classicfeel. co.za for more details.] The singer offered a brief outline of the concerts. The idea, especially for the Piet Retief concert, is to make it educational, and to show what I have done so far, to balance who Pretty is now with what she was then and what she is heading towards. We want to accommodate everyone so we will be mixing classical with traditional music. Some of the audience members will be experienced classical music fans but others will never have heard classical music before. So we want to include pieces that the old gogos can also enjoy and that will show them that these instruments can also play their music. Yende says of her foundation: Its a dream. The whole concept behind it is to give people a chance to dream, to give them a choice. I never had the choice. Somehow it just happened for me, it all came together at the right time. Not everyone has that chance. So instead of waiting until I become big, whatever that means, I would like to take steps right now to give others that choice. I am saying, I was born here and this is what the world has become for me and it can become that for you too. So thats the reason for the Pretty Yende Foundation, and its not only for singing, its for music in general. Yende credits her early sponsors all private families whose contributions enabled her to enroll in international competitions with helping her to launch her career. She is also full of praise and gratitude for her exceptional teachers, including Angelo Gobbato and Virginia Davids at UCT, Mirelle Freni at La Scala and her current voice coach, the renowned soprano Mariella Devia. But much of her gratitude is reserved for her own parents, who encouraged her to follow her dreams and facilitated the early stages of that pursuit. Im from a loving family that really provided for me. My Dad and my Mom made me believe that I could always approach them. They werent rich or anything but I knew that I could always call Mom and Dad they were always a phone call away. They were there from the beginning. Mom would come to my school concerts and every competition that I did. I got them to come to my debut at La Scala in Don Pasquale. I wanted them to see that I was alright, because parents worry: Where are you staying? What are you eating? I wanted them to see the city Im living in and to see the response of the Italians. They were like, Wow, people really love you here. Theyre loving it and they also make sure that I remain me. When Im home, I am just me. I wake up at a certain time, I do the laundry, I do the cooking and I can just be a girl, not Pretty Yende the famous opera singer. Ive been very fortunate and I know that not everyone comes from such a background so what I want to do now with the foundation is to try and meet the world halfway. CF

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