Brundibár the evil organ-grinder

The only adult performer in the opera Brundibár, which premieres at the Mikhailovsky Theatre on Victory Day (9 May), will be Boris Pinkhasovich. He will be appearing alongside the Children’s Choir of St Petersburg TV and Radio. Boris has recently returned from Europe and gladly agreed to tell us how his season has gone, and how he copes with playing negative characters, one of whom is the evil organ-grinder Brundibár.

— Baritones often sing the roles of villains, don’t they?

— Yes, we play demons, poisoners and those who whisper lies, like Iago in Othello. But we can also be someone like Yeletsky in The Queen of Spades, who sings that great aria «I Love You Beyond Measure». However, my personal view is that he is far from being a positive character: in that aria he is really singing about how he loves himself. I would not say that I find these roles difficult. I draw on my own experience — after all, we are all people. I hope we strive for perfection, but we all have our dark sides. I have life experience and I use it.

— You are often invited to perform in various cities and countries. Tell us how your season has gone.

— I had a very important performance a year ago at the Tchaikovsky Concert Hall in Moscow with Vladimir Fedoseyev. It was a concert performance of The Queen of Spades, and I sang the aforementioned Yeletsky. That opera is very special for me, and being alongside Fedoseyev meant a great deal to me. We got on very well and the maestro has invited me again. We will be performing together again in June, but this time it will be Eugene Onegin. I have the title role.

Then there was the Festival de Radio France et Montpellier, where we performed Édouard Lalo’s rarely heard opera La Jacquerie. In September I went to Rouen, which is mainly famous on account of Joan of Arc. I spent 43 days at the superb theatre there, working on the part of Enrico in Donizetti’s Lucia di Lammermoor. It was my first experience playing this dramatic role; it requires a strong voice, energy and even, perhaps, a different age. I had to be particularly accurate in focusing my voice in order to not add anything superfluous. At the same time, I tried to sing the part strongly and confidently to the extent it requires. Enrico is Lucia’s brother. He’s another crafty, evil man who for his own mercenary ends (both political and financial) gives his sister to a man whom she does not love.

— We also know that you appeared in Monte Carlo with Mikhail Tatarnikov.

— After a series of eleven performances in Rouen, Rheims and Limoges, I worked with the maestro in Monte Carlo for a whole month, performing The Gambler. It was a very beautiful production. The theatre in Monte Carlo has a small stage, but it has huge potential. Everything was done with style. There were luxurious costumes by leading designers and beautiful scenery which was set on fire after the opera (we even have an agreement with the company that deals with that). The production was staged by Jean-Louis Grinda, Director of the Monte Carlo Opera; he has a unique ear, an amazing eye and the instinct of a conductor. Being able to talk with him and even be his friend was just a phenomenal experience, and I sincerely hope to continue collaborating.

— And haven’t you just returned from Munich?

— Yes, there was a production of Boris Godunov there. It was very important to me because the Bayerische Staatsoper is one of the world’s five leading opera houses. It was a typical German production, and although it may not have been to everyone’s taste, I agreed to take part because the main thing was the opportunity of being there.

— Do you have favourite parts?

— No, I don’t. Everything I perform is my favourite, sung differently every time.

— And what do you like about Brundibár?

— From a musical point of view, the opera does not necessarily stand among the very best, but the idea of Brundibár is powerful and very profound. I treat the subject with enormous respect. And the songs in the programme on 9 May are enough to bring tears to your eyes.