The Seckerson Tapes: Catherine Malfitano Interview

One of the great Toscas of her generation on directing the opera for the ENO

She was the Tosca who played live to an audience of one billion in 107 countries; she is the director of English National Opera's new staging of the opera they once dubbed Puccini's "shabby little shocker". How times change. In this exclusive ENO podcast, Catherine Malfitano says that it's high time we moved on from the Tosca-as-diva portrayal - that, she says, should remain offstage where Puccini left it.

She talks about the games she plays with her young performers to find a deeper truth and how she draws daily upon the fruits of a glorious career spanning 30-plus years in over 70 roles. ENO fielded one of her last operatic performances when she chilled us to the marrow as the Kostelnicka in Janacek's Jenufa. In her new roles as teacher and director she aims to pass on some of the hard-earned lessons she has learned. The very worst thing that a young singer can strive to achieve is perfection, she says - we only learn from our mistakes.

Listen to this episode

Add comment

The content of this field is kept private and will not be shown publicly.

Plain text

  • No HTML tags allowed.
  • Lines and paragraphs break automatically.
  • Web page addresses and email addresses turn into links automatically.

rating

0

share this article

more opera

Support our GoFundMe appeal
Australian soprano Helena Dix is honoured by fine fellow singers, but not her conductor
Striking design and clear concept, but the intensity within comes and goes
A well-skippered Wagnerian voyage between fantasy and realism
Asmik Grigorian takes all three soprano leads in a near-perfect ensemble
A Faust that smuggles its damnation under theatrical spectacle and excess
Welcome opportunity to catch opera-ballet, though not everything is in perfect focus
Incandescent singing and playing, but the production domesticates the numinous
When you get total musicality from everyone involved, there’s nothing better
Janáček’s wacky space-and-time-travel opera glows and grips in every bar
Telemann’s comic opera hits the mark thanks to two fine, well-directed young singers
Kosky, Pappano and their singers soar on both wings of Wagner’s double tragedy