Luca Pisaroni in an interview

"My dogs always travel with me."

Luca Pisaroni has established himself as one of the most interesting singers of his generation. Since his debut at the Salzburg Festival with the Vienna Philharmonic under Nikolaus Harnoncourt at the age of just 26, he has been celebrated by critics and audiences alike on opera, concert, and recital stages worldwide.

Classicpoint.ch: When did you discover your voice and passion for singing?
I decided to become an opera singer when I was just 11 years old. I owe my passion for opera to my grandfather Franco, who introduced me to this wonderful art form when I was 9. I still remember Boris Christoff's "Ella giammai m'amò" from Verdi's Don Carlo, Carlo Bergonzi's "Quando le sere al placido" from Verdi's Luisa Miller, and Luciano Pavarotti's "E lucevan le stelle" from Puccini's Tosca. I was hooked. Pavarotti's magnificent voice is the reason I chose this path so early on. I feel very fortunate to have been able to realize my dream and turn my passion into my profession.

Do you remember your first time at the opera?
My first opera was “Aida” at the Arena di Verona in August 1986. Unfortunately, I can no longer remember the cast or the conductor. I only know that it was a magical night for me. I couldn't believe how a human body could produce a sound that filled an entire open-air amphitheater.

Do you remember your first opera role?
My first opera role was Figaro from Mozart's "Le Nozze di Figaro." I made my debut in Klagenfurt, Austria, in 2001. I have very fond memories of it. I was very naive and had little idea what it takes to be an opera singer. It was very exciting to be part of a real production, having just finished my studies. Everything was simply wonderful. After a few rehearsals, I realized that I still had a long way to go and that it takes much more than just a good voice to be an opera singer. I had a long way to go to become a complete artist.

You describe Harnoncourt as your mentor. What have you learned from him?
Yes, the conductor who has influenced me the most is definitely Nikolaus Harnoncourt. He conducted my debut as Masetto in Don Giovanni at the Salzburg Festival in 2002. This first collaboration changed my perspective on music forever. Harnoncourt is pure energy for me. His passion, his knowledge, his commitment, and his respect for music transform everything and everyone he touches. I think he's a bit "crazy," but in a good way—in a way that helps us grow and makes us better people.

Which opera role do you enjoy singing most?
I don't have a favorite role. I love all the roles in my repertoire. At the moment, I'm singing Enrico VIII in Donizetti's "Anna Bolena" at the Zurich Opera House and then at the Vienna State Opera. I love portraying this character because he's truly wicked. It's fun to play the villain on stage. I always choose roles that challenge me, whether vocally, dramatically, or both. I especially love roles that undergo an exciting development during an opera. I always try to give the character a personal and unique dimension.

Which operatic character is closest to your own?
If I had to choose one, it would be Figaro from Mozart's "Le nozze di Figaro." It's the role I've sung most in my career: almost 150 performances in 14 different productions. It's a role I love because he's such a great guy. He's intelligent, energetic, bold, and loving. He's, as I often say, the perfect son-in-law. I also love how the audience can connect with him and share in the emotions during a performance.

How do you learn a role?
Learning a new role is a very exciting process. Sometimes it can be a bit frustrating when things don't work out the way you'd like. But most of the time, it brings a lot of new things. It's like a journey of discovery. For example, in 2012 I sang Rossini's Maometto II at the Santa Fe Opera. Maometto is one of the most difficult roles Rossini composed for bass-baritone. It requires solid technique, a balanced voice, coloratura, legato, low and high notes. Everything. I started working on the role three years before the first rehearsal. There are roles that are very difficult. You have to work hard, let it rest, work on it again, and so on. I practice my roles a great deal. With the help of many fantastic coaches and voice teachers, I give myself enough time to develop the role and find my own interpretation.

Your dogs accompany you on every tour. Do they listen to the rehearsals and concerts?
Lenny (a Golden Retriever) and Tristan (a small Dachshund) always travel with me. If I'm singing and the venue doesn't allow dogs backstage, they're in my dressing room or hotel room. I love having them with me. They make me feel at home and help me stay grounded. Most of the time, Tristan sleeps under the grand piano while I'm practicing. That's why I think he enjoys my singing.  

Singers are known for being quite sensitive. The fear of the flu, sore throats, etc., is ever-present. How do you deal with that?
I'm not hysterically afraid of getting sick. It's part of our profession, and you learn to manage it. I follow simple rules that help me stay in good general shape: I eat healthily (sometimes almost boringly!), I exercise regularly, I take supplements for my immune system, and I have a large collection of scarves… ;-)

Do you have any rituals before or after a performance?
I don't have any specific rituals, except that I go for a jog or jump rope before every performance. What I love most before a concert is walking the dogs. It helps me focus and prepare mentally. I also enjoy a night walk after a concert. It helps me relax after the adrenaline rush of performing.

Interview by Florian Schär | Classicpoint.ch | April 1, 2015 |
Photo: Marco Borggreve