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With the Swiss soprano Nicole Wacker we close the series ‘One at a time, for charity!’, the column dedicated to the Soloists of the Singing Academy who on October 15 2023, on the occasion of the Institutional Concert at La Scala, will receive their Diploma from the Superintendent of the Theatre, Dominique Meyer.
Over the last few days, with an interview and a video, we have told you their stories and proposed some of their interpretations: with Nicole we listen to a second version of ‘Il vecchiotto cerca moglie’ from The Barber of Seville.
Let's start from the beginning: how was your first approach to opera? Tell us how you experienced this passion for singing and the experiences that led you to decide to come to Milan to study this art.
My family is very fond of opera and has always attended the theatre, my great-grandfather and my mother were also extras! When there was a need for children on stage I also did a few extra roles, so you could say I have been living on stage since I was 4 years old! When I turned 7, my parents encouraged me to study singing and I joined the Children's Choir in my home town of Zurich. I loved living that ‘fantasy’, it was like a game to me. I remember that sometimes I had the opportunity to be close to very good singers, and I was always very impressed by the power of their voices. It was something I was very attracted to and fascinated by. Over time, my voice developed more and more. In high school, I decided to take vocal technique lessons and for the first time I was taught by a very good teacher who got me into an advanced programme for young opera singers. We did masterclasses, visited conservatories and universities where I had the opportunity to meet the maestros with whom I later trained in Berne. The idea of joining La Scala was not close to me, I didn't contemplate it, because I didn't think I was good enough. The idea we have of La Scala is always like something unapproachable, instead I was taken in and I was extremely grateful!
Tell us about your years at the Academy?
I moved in November 2021 and everything was very new to me, even though my home in Switzerland is close to Italy. I also knew a bit of Italian, but as soon as I arrived in the city I didn't understand much, partly because there was covid and I had trouble following my lips or hearing my voice well. I remember coming home terribly tired in the early days because I struggled all day to understand conversations and to get used to a different rhythm. I needed some time, to also get used to the new teaching method.
For example, I didn't used to take choral lessons, in Switzerland they were always individual, whereas here at the Academy everyone also performs in front of each other. There were so many new things, but the people helped me a lot. Mrs D'Intino especially helped me a lot with my voice. She helped me build up my instrument and now I master very complicated roles like the Queen of the Night, which I just debuted at the season opener at the Ponchielli Theatre in Cremona. At La Scala, I started with concerts on the reduced stages and I was confronted with pieces that I did not think were mine and instead I was very amazed. My first time on the La Scala stage then was intoxicating. I was standing in for a lead singer and it was incredibly exciting. I have prepared so many roles over the years and I found that my voice did not get tired and jumped from one performance to the next.
What has been the biggest challenge you have faced to date?
In my opinion the biggest challenge is managing myself well every time there is a busy period. Understanding the technique to keep my voice healthy, resting properly, organising myself well with rehearsals etc. I know I can sing a lot if I am fit, but it is difficult to find the right balance sometimes. I am a person who is a bit afraid of missing opportunities and so I would say yes to everything, but in doing so I also take risks.
The career of an opera singer can be as wonderful as it is demanding and challenging. There can be pressure, expectations, risks, but also incredible emotions and satisfaction. Moreover, in your work you play several roles that take you on intense emotional journeys: in the work of interpreting the character you feel his emotions, his thoughts, his sadness and his joy. It is an experience that can be very profound. In general, this work is perceived by many as very fascinating but also very complex. What do you think about it? How do you handle the more challenging aspects of this career?
I can't say that I have found an answer or an optimal recipe to handle all this. But I see it this way: singing is a bit like life, so knowing how to handle the difficulties of this job is the same as knowing how to handle the difficulties of life itself. It is important to maintain mental health, not just physical health. Doing meditation, yoga, rest, breath exercises, walks, keeping a diary, doing sports, reading, expanding the mind to realise how small we are in comparison with everything else, and I mean that in a very positive way. For me it is important to stay humble. It is important to understand that the world does not revolve around you. I also think we have to talk and compare ourselves, share, be honest. And so we are suddenly not lonely any more, and so we are better off, both in managing work and in life in general.
Many thanks to all the supporters of the Academy of Lyric Opera
