Dmitri Hvorostovsky: Opera's Reluctant Hunk by Philip Anson
/ June 1, 1998
Version française...
Everyone's first question about
Russian baritone Dmitri Hvorostovsky: "Is he as handsome in person?"
Yes, the Siberian tiger lives up to his billing as the world's
sexiest baritone. When he walked into the café of New York's elegant
Stanhope Hotel wearing dark glasses and a black leather jacket, he
radiated movie star glamour. Call it charisma or animal magnetism,
Hvorostovsky is one of nature's physical aristocrats. Those
sardonically sensual lips, that trademark mane of silver hair and
those hooded Slavic eyes suggesting cruel Tartar ancestry - the man
is totally hot and, paradoxically, cold.
But, as I found out during an interview last
February, Hvorostovsky is more than just another "barihunk." He is a
serious artist struggling to balance artistic and commercial
pressures at "a very difficult time for classical music," he said
"when even excellent musicians are being dropped by record
companies."
Dima, as his friends call him, was born in 1962 in
the "large but provincial" Siberian city of Krasnoyarsk. His
music-loving father sent him to a school for talented children and a
performing arts high school. His principal interests were boxing,
soccer and girls. In 1986 he joined the Krasnoyarsk Opera and met
his future wife Svetlana, a ballet dancer. Choir direction, teaching
music and competitions filled the years. Legendary Russian mezzo
Irina Arkhipova, who presided over the jury of the Glinka
Competition Hovorsotovsky won, encouraged him to enter the 1989
Cardiff Singer of the World Competition that launched his western
career. Because the Cardiff Competition is internationally
televised, being photogenic was an asset. Dima found an agent and
signed an exclusive five-year contract with Philips Classics
immediately after his Cardiff victory.
Hvorostovsky's Cardiff win over Welsh baritone Bryn
Terfel was controversial. As he recalls, "I didn't know who Terfel
was until the last round of eliminations, when I heard him sing
Wagner. Only then did I have my doubts about winning." Terfel won
the Lieder Prize - "one of several prizes to calm down the
losers," as Hvorostovsky quaintly put it. Terfel, now universally
recognized as one of the world's greatest living singers, was signed
up by Deutsche Grammophon.
Hvorostovsky's career exploded, with recital debuts
in London (Wigmore Hall, 1989), New York (Alice Tully Hall, 1990),
and opera debuts at La Fenice (Onegin, 1991), Covent Garden
(I Puritani, 1992), Châtelet (Onegin, 1992), La Scala
(Don Carlo, 1992), Chicago (La Traviata, 1993),
Metropolitan Opera (Queen of Spades, 1995). Between 1990 and
1997 he participated in 15 recordings, including 9 solo albums, a
large number for any singer.
Much of Hvorostovsky's recording career was driven
by "beefcake baritone" publicity that very nearly cost him his
artistic credibility. "It wasn't my idea, but I couldn't control
it," he reflected. "I was immature and I had no idea about career
management. I just got carried along." He is grateful the sex symbol
publicity helped establish his fame, but he now shudders with
embarrassment at the mention of Elle magazine's 1996 "Elvis
of Opera" feature. Not that Hvorostovsky is a snob. He thinks Three
Tenor-type events attract audiences to classical music, and he has
done a well-paying stadium concert himself, in Iceland. But at 36,
Dima's priority is to establish himself as a serious artist. He
emphasizes that he is a married man with a loving wife and twins
named Daniel and Alexandra. He works hard learning song cycles by
Mussorgsky, Mahler, Glinka and Shostakovich. And, so far at least,
he has resisted the financial lure of crossover projects.
Though billed by Philips Classics as "The
Electrifying Fresh Voice of a New Russia", Hvorostovsky has lived in
London, England since 1994. He sang twice with the Kirov Opera back
in 1988 and 1991, when they could afford him, and he remains an
admirer of Valery Gergiev's "thrilling conducting." Though
Hvorostovsky's parents still live in Krasnoyarsk, he returns to
Russia only three or four times annually. He has many Russian fans,
but also detractors who accuse him of abandoning Russia for big
bucks in the west. He is saddened by the current Russian music scene
"state subsidies dried up after Perestroika, so there is much less
activity" but he is excited about his first Russian tour this summer
through Belorussia, the Baltic republics and the Ukraine.
In terms of repertoire, Hvorostovsky never
abandoned his Slavic roots. The Russian repertoire remains closest
to his heart, and it perfectly suits his rich dark voice. His
discography includes Russian opera arias, choral music and folk
songs. Surprisingly, his successful 1991 folk song album Dark
Eyes wasn't even his idea. As a teenager who played in a rock
band and idolized Led Zeppelin, Deep Purple and Queen, these
old-fashioned songs his grandmother sang were of little interest to
him. Philips Classics pushed the project and the result is one of
Hvorostovsky's most satisfying recordings. These days Dima is
enthusiastic about several song cycles by the late Russian composer
György Sviridov whom he calls "Shostakovich's best pupil." He
recorded Sviridov's Russia Cast Adrift in 1994 and he
declares, "if Philips Classics won't record the new song cycle
Petersburg dedicated to me, I'm sure some other label will !"
Hvorostovsky looks forward to singing
Mussorgsky's haunting Songs and Dances of Death with the
Montreal Symphony Orchestra at Lanaudière this summer. It will be a
relief for him to unload the "huge guilt" he has had since
cancelling his last Montreal concert. He considers Charles Dutoit "a
conductor every singer should dream of performing with!" Judge for
yourself at the Lanaudière Amphitheatre on July 18, 1998, 8 pm. Tel:
1(800) 561-4343, 1(800) 361-4595 (Admission) or in U.S.A. 1(800)
678-5440. Version française... |
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