Opera japonica/Salvatore Licitra

Salvatore Licitra

Salvatore Licitra is one of the few spinto tenors of his generation. He is singing all the major spinto roles and in a short time (since his debut in 1998) has become one of the most important singers at La Scala. He has sung in Madrid, Vienna, Zurich, and Tokyo, in addition to all the major opera houses in Italy; his North American debut will take place in 2004 with Tosca at the Met.

Born in Bern (Switzerland) to Sicilian parents, he moved to Milan when he was two. He grew up and started his studies there. Silvia Luraghi meet him after a performance of La forza del destino in Turin.

Silvia Luraghi: Tell me how you decided to become a singer.

Salvatore LICITRA: I had just graduated from high school, and had already started working. We went to Sicily for vacation in the summer, and my mother heard me singing in the street: she said, either you stop making that noise, or you start studying seriously. . . . So I left my job and started.

In the beginning, I was unlucky. For the few years, I studied with a teacher who prepared me as a chorus singer. When she realized that I could do more, she sent me to her own ex-teacher. But she wasn't able to do anything with my voice, so that after eight years my voice was completely ruined. Then I did the right thing: I left my teacher and entered Bergonzi's voice academy in Busseto. Bergonzi let me do some minor roles, such as Gaston in Traviata, so that I could make some money and pay for my courses.

Finally in January 1998 I had my debut at the Teatro Regio in Parma, in Un ballo in maschera. It was a special performance for Bergonzi's pupils: the public liked it, but the critics didn't come! So in March I was back in Busseto again without a contract, and without money to pay for more courses.

Fortunately, I was able to get a contract as a cover for the Arena di Verona: I had to cover Ballo in maschera, Rigoletto, and Aida. But when [Daniel] Oren, the conductor of Ballo heard me, he asked me to sing all the performances. That was the beginning of everything, because during the following season (1998-1999) I was able to make my debut in La forza del destino at La Scala; later on in the season I also sang in Tosca, and in the summer of 1999 in Madama Butterfly, again in Verona.

Luraghi: Many singers have difficulty working with Muti. You seem to get along very well with him...

LICITRA: It's true! I think his best quality is that he reads very carefully what is written in the score. He always makes it clear what he wants and he can breath with the singers when he conducts.

Luraghi: Apart from technical considerations, how important are interpretation skills for you?

LICITRA: Interpretation is everything when you have to perform: but for good interpretation, team work is essential. It's important that you have good rapport with other singers, that you work with colleagues who share your ideas about the final result of your work.

Luraghi: How do you get along with stage directors?

LICITRA: Singers must respect stage directors. They must understand that they have to follow the director, without trying to do what they want themselves. Problems arise when singers want to take the place of the stage director. There are colleagues who tell you during rehearsals what they think you should do in terms of acting: this is wrong!

In any case, if the stage director's work is bad, it's his or her own responsibility, and the public and the critics know this. I would only refuse to do something if they asked me to sing in a position which makes impossible to breath. In general, I think that one should be very disciplined: harmony is important when you work in a team.

La forza del destino in Turin: (left to right) Salvatore Licitra as Don Alvaro, Andrea Gruber as Leonora and Carlo Colombara as Padre Guardiano

Photo: Ramella & Giannese/Teatro Regio Torino

Luraghi: You have a very good breathing technique. Who can you thank for it?

LICITRA: Basically, myself! When I was a child, I used to compete in swimming races, and this developed my lungs: in general, I love sport: I try to go skiing every year, although I haven't had a chance so far this winter.

Luraghi: What new roles will you be performing next?

LICITRA: I am scheduled to do Adriana Lecouvreur in Rome in May, then I'll sing my first Cavalleria Rusticana in Poland. I would like to do more verismo: my family is originally from Sicily, and I feel culturally very close to this repertoire. Next season I will also perform the role of Gabriele Adorno in Simon Boccanegra, and Calaf in Turandot, both in Vienna, one of the theaters abroad where I sing most frequently. Then I will do Pollione in Norma.

Luraghi: Tell me about Riccardo in Un ballo in maschera. This is one of your key roles. How do you see him?

LICITRA: He's young, and feels like living and having fun: he's fair, as even the plotters have to recognize in the end. He realizes he's done something wrong and is able to pardon everybody when he dies. So I like him.

Luraghi: Are you thinking of trying any French or German opera?

LICITRA: Not really. Maybe I could do Carmen, but then, I don't know. I don't speak French and good diction is very important for me.

Luraghi: What about Otello?

LICITRA: I will do it, but I hope not for many years. I still have many roles to sing and hope to have a long career.

Luraghi: Do you think your voice is particularly suitable for Verdi?

LICITRA: I don't know, I certainly love Verdi. One can find a lot of belcanto in his writing for voices.

Luraghi: Thank you.