Opera japonica/Barbara Bonney

Photo: Decca/Jean-Philippe Masclet

Barbara Bonney

The distinguished American soprano Barbara Bonney made her ninth visit to Japan this September, giving recitals in Gifu, Osaka, Tokyo and Matsumoto, where she sang Grieg's Sechs Lieder op. 48 and Aaron Copland's 'Twelve poems of Emily Dickinson', together with some songs of Richard Strauss. She was accompanied by Malcolm Martineau. She also performed in the Bach Mass in B minor under Seiji Ozawa at the Saito Kinen Festival in Matsumoto.

After the conclusion of the tour, Opera japonica's American correspondent Maria Nockin talked to her about her experiences in Japan, as well as the development of her career and her life as a singer.

Maria Nockin: This year all your appearances have been recitals or concerts, rather than in opera. You have been all over America, Europe,Australia, and Japan. Performing in opera might have given you more time to stay in one place. Do you prefer the platform to the stage?

Barbara BONNEY: This year has been a bit of an experiment, and there are ups and downs. You are right about staying in one place with opera, the concert schedule means a great deal of traveling. But I love the concert stage, and thought I should devote a year to getting to know myself as a concert singer.

Nockin: You are interested in the focus of energy from the artist to the audience, and its reflection back to the stage. Is this a universal thing or does it differ from audience to audience?

BONNEY: It is universal but, or course, it is different everywhere you go. Since it involves each individual who is present, every 'experience' is different. But that is life!

Nockin: Do you feel you are part of a school, a tradition of singing? Which singers of the past have been important sources of inspiration? Have there been changes in style that make the Golden Age singers no longer relevant. . . ?

BONNEY: I suppose I belong to the German School, and I identify with singers such as Lucia Popp, Edith Mathis and, going even further back, Elisabeth Schumann and Maria Stader. They are most certainly important. They teach us that it is possible to have big careers without big voices. Yes, the styles change, but that is simply a reflection of society. Good singing always remains good singing, whatever the age.

Nockin: Do you think of yourself as carrying the flag, or baton, for singers of the past?

BONNEY: I like to think that I am carrying the 'Lied Baton', because we need to crusade for this art form to survive. It requires an intelligent audience, and we need to fight for this to continue.

Nockin: Some sopranos move easily from the soubrette roles to heavier parts, others have changed much less, for example Elisabeth Schumann. How do you see your own voice maturing and changing?

BONNEY: I am certainly going to follow in the Schumann footsteps. Certainly no big roles are in the offing, only Zdenka and possibly Mélisande. How could I possibly compete with the full lyric sopranos of today? I would much prefer to explore my field of art song.

Nockin: You have made an impressive series of recordings in the last few years: German lieder, American and Scandinavian Songs, etc. Your CD of early English Songs was released last month in Japan. What would you like to record in the future?

BONNEY: There are many composers that need attention, the list is endless! I am working on an Internet project right now that will be dedicated to art song.

Nockin: Do you find that American songs are getting a better reception than they did earlier?

BONNEY: Absolutely, The music deserved to be heard, and since more Americans are singing recitals, American songs get more exposure.

Nockin: You spent some time in Salzburg. How was your life there? What did you do there?

BONNEY: One of the first things I did there was to climb the Untersberg, which was a wonderful experience. I was very poor as a student and had to keep changing accommodations trying to find places where I could live for free. Once I lived for a month in a tent in an attic of an old house, with no kitchen and no bathroom. That was crazy.

Nockin: You often give master classes in the cities where you perform. Have you ever given any master classes in Japan?

BONNEY: I have not yet taught in Japan, but hope to someday. So many wonderful students! I try to encourage students to be themselves, sing as naturally as possible, and to find out why they have chosen this career. It is a very difficult one!

Flyer for Barbara Bonney's recital in Tokyo on 9 October 1999

Photo: Decca/Jean-Philippe Masclet

Nockin: You have been to Japan a number of times. Non-Europeans can find European languages very challenging. Do you sometimes feel the language barrier when you are performing? How do you feel about translations in programs etc.?

BONNEY: I have been to Japan nine times, actually. Just recently, on my recital tour, I had a singer read the texts [in Japanese] to the Copland Emily Dickinson Songs. I think this made these difficult songs much more accessible.

Nockin: Have you ever had any unusual experiences in Japan?

BONNEY: The only unusual experience was an earthquake in 1994 when I was there with the Vienna Staatsoper and Carlos Kleiber. That was really frightening! Other than that I have only had fun, very pleasant experiences.

Nockin: What will you be performing on your next visit to Japan in 2002?

BONNEY: I have no idea what I will be singing in 2002, perhaps Dichterliebe.

Nockin: What other things, besides singing, are important in your life?

BONNEY: My husband is the most important person in my life. Spending time with him becomes more important, and I will soon have to cut back on my heavy schedule, so that I can have a life.

Nockin: Thank you very much. We wish you all good things for your career and time to enjoy your personal life!