In the mirror of International Competition for young opera vocalist “Boris Hristov”

The International Competition for Young Opera Singers “Boris Christoff” has a special place at the big musical stage. It is unique with its third, last round. The competitors can show their talent in a spectacle of Sofia Opera.

Born in Sofia in the distant 1961, the competition not only stood the test of time but also became a favourite. It was the start of the big career of many Bulgarian and world singers. Since 1973 it is a member of the World Federation of International Competitions, Geneva, and after the death of Boris Christoff it bears his name.

This year the international jury of prestigious names – Ileana Cotrubas, Luigi Alva, Radmila Bakocevic, Mirna Lacambra, Hristina Angelakova, Prof. Irena Brambarova, Prof. Dimiter Tapkov – was presided by the opera prima Ghena Dimitrova. At the fourth edition of the competition in 1970 Ghena Dimitrova won the grand prix and a gold medal.

We spoke with the jury president and the foreign members of the jury about the 13th edition of the competition, held June 12–22, and about the young opera singers.

Mrs. Dimitrova, the competition is not only a field of contest but also a barometer for the life of the opera art. What is the balance?
For those who love and make opera it is very important. The applications for participation were over 70, but only 36 competitors were able to come. The reason was the shortage of funds and the uncertainties a month before its beginning. Twenty singers reached the second round, definitely professionals, with very good musical training, without envious singer’s qualities. No charming person appeared on the stage so we could forget the shortcomings.

Ten singers made it to the third round, who had performed on stage. At these competitions we usually expect to hear some brilliant powerful voices. In this case most were lyrical, there were not even spint voices. However, this is a common worldwide phenomenon these days. Today, if a big voice comes up the market grabs it and uses it. Unfortunately, business plays a large part in the fate of a singer.

Last century when a phenomenal voice appeared it was cultivated slowly in time. How do young singers live today in the dynamics of our times when art is a commodity and everything is business? What is the projection of the profession “opera singer” into the future?
It is very hard for a young singer nowadays. Those who have talent quickly get in the hands of impresarios and theater agents. This is often dangerous. Those who aim at a longer development should go easy. The market is very exacting. A young singer could not stand 50 shows a year, anyway the impresarios offer not more than 10. So, the young people go to auditions with impresarios, conductors, theaters, often without result. They ought to have a lot of money to afford this.

Thank God, we have many young talents in Bulgaria. They must be polished like precious stones. This takes time. That is why I think our system is still the better. They can sing in the opera houses in the country and in Sofia, thus they gain repertory. This is the better option than to tour with companies from abroad or sing here and there for money.

Robert Pomakov who won second prize is only twenty three but already sings at big stages and participates in prestigious competitions. What do you think of this phenomenon?
Two years ago when I gave him an audition he was a very characteristic basso of imposing stature. Now he is different. He entered too quickly the hard basso repertory, which is mostly for mature singers. What is more, the basso characters are old and he looks like a child on the stage.

Robert is extremely musical, he has artistic sensibility, gives everything from himself on stage. But he still has to learn a lot in vocal technique. Such talents should “hurry slowly”. I advised him to go to Italy to study the Italian vocal, language and tradition. This is important for singers like him, because a career lies ahead of him. He would be a peak if he mastered the vocal technique.

Can we consider him a descendent of the great Bulgarian basso tradition?
So far I see in him a young talented artist who needs to learn more. I cannot predict. Everyone’s fate is different.

Most of the prizes were won by Bulgarians. What qualities did they demonstrate?
It happened so because very good competitors from the foreigners did not come. The Bulgarians were very well prepared. We have not robbed anyone to award Bulgarians. The first two days we listened only to foreigners and when Bulgarian singers appeared the jury signed with relief – at last the good ones came.

Who do you think is the most opera-like voice among the Bulgarians?
Andreana Nikolova. She carries a great potential. Now when she lets her voice out we hear the big opera singer.

The competition is also a kind of a test for the public attitude, for the life of the opera. Four years after, when the next edition will be held, what should we expect and what should be done?
We have to organize it much better. Find mechanisms for raising funds and getting them in time, because young singers today go to competitions the world round. To engage them it has to be sure that the contest will be held.

What do you want the young to believe in?
To those who devote themselves to the art of the opera I want to say once again: hurry slowly! They are at the first step of this boundless art. They have to make sacrifices, to give themselves up completely, otherwise they would remain at the first step forever. They should seek, not just rely on the achieved, to cultivate firmness. And what is no less important – get that emotional satisfaction that makes the whole thing worthwhile.