PRACTICAL OPERA

Avaz ABDULLAYEV stands as a testament to success and determination. Before finding his calling in opera, this leading soloist of the National Opera in Mannheim and People's Artist of Azerbaijan explored various professions. However, destiny led him to opera, which became his profession, passion, remedy, and life. In our conversation with him, we will delve into the current state of opera in Azerbaijan and discuss the potential cultural shifts following the restoration of the Opera and Ballet Theatre.

"When the global success of Azerbaijani academic music is discussed, the creative accomplishments of our vocalists are often the first to be acknowledged. Why the instrumental music doesn't share the same recognition? As to the theatre, it seems that opera vocalists, not ballet performers, are the ones captivating international audiences..."

"In terms of promoting our music globally, it needs to be actively endorsed and supported. This should be a top priority for the Ministry of Culture. To achieve this, we need a strategy, a plan, and initially, we need to ask ourselves: why isn't Azerbaijani music fully represented on global platforms? Is it enough for a conductor invited overseas to perform just one or two pieces by Azerbaijani composers during a tour? What benefits does this bring to Azerbaijan? I recall the world premiere of Firangiz Alizade's Passion Nasimi at the Amsterdam Royal Concertgebouw in 2019. I participated as a soloist at the composer's invitation. Yet, there were hardly any Azerbaijanis in the audience, save for one or two individuals. This reflects the approach of the previous Ministry of Culture staff. Yes, there was a film crew that produced a five-minute report on the world premiere... a five-minute report. This is unheard of elsewhere in the world! They should have broadcast it live, created a celebratory atmosphere in their country, published articles, and produced programs! I believe it would be beneficial if our companies and enterprises allocated a certain percentage of their budgets to philanthropy and culture. They could fund the overseas education of talented students, musicians' participation in competitions and masterclasses, chefs' training at top culinary schools, and their involvement in competitions. This ensures that skilled professionals would eventually return to the country. All of this is expensive and few can afford it in a comprehensive format. The fact is that international competitions are highly competitive, and musicians aspiring to participate must meet these standards. That's why it would be beneficial to invite renowned musicians to conduct masterclasses. I know this is happening, but there should be more of it. Ideally, you should bring two or three musicians here for a few months, rather than sending ten people there to study. It's just a matter of negotiation. Trust me, those of us who have been working abroad for years have connections and can assist. The Ministry of Culture has undergone changes, and there's hope for progress, but time is of the essence. It would be good to meet and discuss, to propose some ideas to improve the situation."

"You've been the leading soloist of the Mannheim National Opera for quite some time now. As the People's Artist of Azerbaijan, you have the unique opportunity to compare... What aspects of your experience in Germany would you incorporate into the opera life in Azerbaijan, and vice versa?"

"It's true that I've been a leading soloist at the National Opera in Mannheim for many years. In Baku, our opera theatre's management has changed, which we're thrilled about, and renovations have commenced, something that should have been done 20 years ago.

"Reforms are underway and it's truly wonderful. I personally express my gratitude to Yusif Eyvazov and his team, including his deputy Sabina Asadova. Both are exceptional artists and performers who understand what needs to be done. If we were to draw comparisons with Mannheim, and not just Mannheim, I would suggest increasing the salaries of artists and all employees, given the complexity of the art form. I would also advocate for more discipline, but I'm confident that once the theatre is restored and functioning fully, everything will fall into place. In the West, many theatres have something akin to a fan club. These aren't just opera enthusiasts with season tickets. They practically work at the theatre, have access to all performances, and sponsor the theatre. When the repertoire is being formed, their representatives voice their preferences, their opinions are considered by the theatre management, they are consulted, and the next year's repertoire includes the performances they recommend. These individuals significantly contribute to the theatre's operations, as you can imagine, scenery, guest artists, conductors, directors - all of this incurs substantial costs: travel, accommodation, fees. Opera is an elite art form, and we wouldn't want its standards to be lowered to something trivial, akin to show business. The same applies to ballet, where artists' careers are relatively short. The pinnacle of mastery is often reached at a fairly young age. But in opera, where the voice needs time to strengthen and the skills of a dramatic artist need time to mature, like fine wine, the tasks are entirely different. The art of opera must be safeguarded, particularly by the state. It's encouraging that we've initiated reforms, but I would like the Ministry of Culture to consult with those involved in the theatre, and trust me, there's plenty of advice to offer. I hope that the situation will change and that the ministry will take a more active interest in this matter."

"There's a common understanding of how individuals become opera singers. It's beneficial if a person has been taught the fundamentals of music at an early age, has completed music school, and has a certain cultural background by the time their voice matures. But there are instances where individuals, so to speak, step onto the opera stage from the street - they are gifted with a voice on their 18th birthday. How did you develop an interest in opera and become a baritone?"

"When there's a cultural background, if a child learns solfeggio at a music school, studies a musical instrument, then progresses to a conservatoire, that is, follows a long path, then of course this is advantageous. But there are other cases, and there are many. I have numerous colleagues who have transitioned from other professions. For instance, I graduated from the National Aviation Academy, earned a degree in mechanical engineering, and I studied diligently to become a specialist. But at that time, there was some uncertainty and the situation was challenging, so I never had the opportunity to work in my profession, even though I was eager to do so. But it wasn't a coincidence. After the army, I received an intriguing offer to work in the kitchen. My mother was a cook specialising in national cuisine, and my sisters were involved in the confectionery business, so since childhood, everyone around me was baking and cooking. I developed an interest and joined a catering company - an Asian cuisine restaurant. I worked there for many years. One day, a friend gave me a disc with arias of great tenors. I must admit that until then, I had never listened to classical music, I had no interest. I listened to the disc and was utterly captivated by Canio's aria from Leoncavallo's opera Pagliacci. I remember listening to this two-minute aria all night - I couldn't stop and couldn't pull myself away. By morning, I was already hooked. I had a strong desire to sing this aria, for some reason, I decided that I too was a tenor.

"My journey into music began with my neighbour, a music teacher, who helped me prepare several songs that I performed at the music school. At that time, I was working as a chef and would often sing in the kitchen. Visitors would approach me and suggest that if I loved singing so much, I should consider attending a conservatory. However, I was singing for my own enjoyment and never considered it as a potential career. Then, fortune smiled upon me. Zemfira Verdiyeva, the chairwoman of the Republican Women's Society, heard me singing in a chorus on a tourist bus. The society's representatives wrote a letter to the Ministry of Education, and subsequently, Farhad Badalbeyli listened to me. As a result, I was enrolled in the second course (for my second higher education) and at the age of 27, I began studying solfeggio. A year later, I was taken on as a soloist at our opera theatre. That marked the beginning of my career."

"What are your all-time favourite opera performances?"

"I consider myself fortunate to have many favourite operas from which I can choose what I want to sing. My repertoire includes about 50 principal roles, and I would say that 45 of them are my favourites. These include works by Verdi, Puccini, Rimsky-Korsakov, Massenet, and Azerbaijani opera music. For instance, I greatly enjoy Intizar by Firangiz Alizade, in which I perform two baritone parts, both positive and negative. I had a strong desire for this opera to be staged in a German theatre. The management requested the score, and I approached our Ministry of Culture under the previous leadership. However, they were unable to send the sheet music for several months. To my surprise, the theatre director managed to find the score himself due to the issues with forwarding. Unfortunately, due to the numerous oriental melismas in the opera parts, the idea of staging it had to be abandoned as not all singers would be able to perform it. Firangiz-khanym then suggested that she could adapt the music for the convenience of Western singers. Despite her appeal to the Ministry of Culture, there was no assistance or even interest from the ministry, so the idea remained unrealised."

"Recently, we had a conversation with our renowned conductor Yalchin Adigozalov, who suggested that Uz. Hajibayov's opera Koroghlu deserved a different fate. Do you believe that in the era of experimental theatre, deeply immersed in psychological intricacies, a heroic opera can pique interest and, more importantly, make an impression abroad?"

"I believe that with some modifications, operas like Koroghlu, Intizar, and Sevil can be performed with dignity on the world's stages. Recently, a Georgian play was translated into Italian and performed in Italian theatres to great acclaim. The audience gave it a standing ovation. Why not do the same with our operas? Of course, Koroghlu deserves to be widely recognized, but it requires effort and support, as popularization is not an easy task. It's unrealistic for one person to promote such a project."

"The Azerbaijan Opera and Ballet Theatre will reopen soon after renovation. The repertoire will likely be updated under the new management. Do you believe that repertory theatres are viable these days? Wouldn't it be better to move away from the old Soviet tradition, where many artists don't perform for months, even years, waiting for their moment in the spotlight?"

"Yes, I believe repertory theatre is viable. There are no productions that can be deemed unviable. The key lies in how they are staged and presented to the audience. Even in the same performances, you can change the direction, the staging, and adapt them to different circumstances and times. The music remains wonderful and will always be well-received.

"Certainly, it's essential to refresh the repertoire. For instance, if a play has been running for two years, it could be replaced with something new and brought back if the audience appreciates it. By expanding the repertoire, all artists who are currently out of work will find their place. The company should grow, considering there's only one opera theatre in the country, which is not small by any means. It would be beneficial if a part of the company could tour the cities of Azerbaijan, give concerts, and even perform in a chamber format without scenery. In today's world, any scenery can be replaced with two laser projectors, given the will. I sincerely hope that our artists will tour both domestically and internationally."

"Opera is a dramatic musical performance. In other words, besides vocals, it is necessary to have acting skills. Is it possible to do without all this gesturing and facial expressions, relying solely on the professional performance of vocal parts and recitatives? I've never heard of an opera singer being assessed as an actor, usually, it's about whether they hit the right notes, maintain their breath, execute the vibrato, and so on."

"If, after a dramatic performance, the audience leaves the show in tears, moved by the performance of the opera artists and not just by the power of the voice, then that speaks volumes. That's enough. Audiences cannot be surprised by vocals or music alone: you can buy high-quality equipment and discs and enjoy it at home. Nowadays, real drama unfolds on stage. In the theatre, people are watching the performance, the action, they no longer accept mere gesturing and facial expressions, they need something astonishing. I promise that after the renovation of our theatre, opera lovers are in for a lot of surprises, not just old repertoire performances. Already next year, the theatre will delight its audience. Wait for it!"

"When will Baku theatregoers be able to see and hear you live on stage?"

"Next month, God willing, I will be seen in the opera La Bohème, as the painter Marcel. This role is dear to me, as I love to draw, it is one of my hobbies. By the way, there is a very interesting incident connected with this performance. At one of the German opera festivals, where the opera was to be staged, the director suggested that during the whole performance I should walk around with a canvas and make sketches, as if I were making sketches. I said why "as if", I would draw. And during, I think, ten performances I drew my partners, the conductor, someone from the audience: while someone was singing, I went to the edge of the stage and drew those who were interesting to me. It turned out that in the children's choir, which also took part in the performance, there was a girl in a wheelchair. She had some kind of bone disease, and she sang while in that chair. And one day when I went out into the foyer during a pause, I saw an empty wheelchair with a beam of light falling on it from the window. It was very picturesque, and I couldn't help but paint this composition. It so happened that on the already painted canvas this pram was in the very centre. Then this canvas was sold at an auction for a good sum, and the money was transferred to the fund to help disabled children. And now I'm on the plane, about to fly home, and suddenly the phone rings. Imagine, it was the same girl in a wheelchair. She, crying, said that she was grateful to me for the fact that I drew her chair empty, without her, which means that there is hope for recovery. "I will walk," she declared. I think it would be superfluous to talk about what happened to me the entire flight after those words. And in general, this is a wonderful opera, I love it very much, and I think the audience in February will enjoy it very much."

"What opera has given you personally? Can you sometimes imagine life without the music of the great opera composers?"

"Opera, which is my third profession, has significantly transformed me. I owe a great deal to music. Frankly, it's high time we introduced choral singing, music lessons, and solfeggio in schools, a practice that's long been common in the West. Classical music has the power to alter the mind. It's therapeutic and healing. It would also be beneficial for children to take acting classes. We shouldn't limit children to performing just some skits in primary school. As they grow older, it would be good for them to stage productions of Shakespeare's plays, Nizami's poems, Ferdowsi's works... Perhaps I'm naive, but I believe that all the wars in the world stem from the fact that people didn't play games in their childhood. I consider myself fortunate, out of my nearly 50 roles, 47 of them are negative characters. The entire negative set, i.e., murderers, traitors, scoundrels, including Mephistopheles or the devil from the opera Boris Godunov, which I will be performing here in Mannheim, I will experience emotionally exaggerated a hundredfold. And I no longer need it in my life, because I have "used up" the accumulated negative emotions on stage. In general, I used to sing during meditations, chanting mantras, as I was deeply involved in Indian practices at one time. And now, having such an opportunity, a panacea, I realize that it is a deliverance from many problems. Theatre and singing reveal a person, it is a real treasure. You do not need to unleash your potential on the battlefield, in conflicts. You better imitate them on the stage."