when your life is full, when you’ve felt a certain level of despair, of pain, of love, at a certain point, there is only certain sounds that can match that feeling. And, to me, the immensity of the feeling encapsulated within the sounds of opera, there is nothing like it. And that feeling that would move all of us, if we were to hear it, would be the only sound that would explain that pain. So yes, I’ve lent more towards it now.
How did it affect you having to perform Opera in front of so many people? Well, I was terribly nervous. I spent almost seven months training. Because when you work with Pablo [Larraín], you can’t do anything by half. He demands in a most wonderful way, that you really do the work and you really learn and train. But my first time singing, I remember being so nervous. My sons were there, and they helped to block the door that nobody else was coming in, and I was shaky, and Pablo, in his decency, started me in a small room and ended me in the Scala. [laughs] So he gave me time to grow. But I was frightened to live up to Maria and that I had, you know, not sung in public.
Congratulations on your latest film Angelina Oh thank you.
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There is already talk of an Oscar for your performance, How do you feel about the noise? Honestly, for me, the bar in this is that I would know I did good enough for the Maria Callas fans, and those who love opera. And my fear would be to disappoint them. So, of course, all other things, in my own business, if there’s a response to the work, I’m very grateful. But in my heart to disappoint the people who love her and she means a lot to and her legacy. And I really came to care for her, so I felt I didn’t want to do a disservice to this woman.
There is a line in the movie when somebody is asking your character about music and you say ‘It has become a despair’ To flip that can we talk about the joy of music in your life and what was the first record you ever bought? Do you have a song that puts you in a good mood? and how much have your children influencedyour musical choice? They are a dif- ferent generation so probably listen to different music to that you grew up with? Well, now they’ve been listening to a lot of, I mean, opera has been in their house for a while, so they’re quite used to Maria. And I do hope, if I can say that, I hope for a lot of people, that this film, if anything, brings more people to opera, to explore it and to let it affect them and move them, because it’s such a powerful art form and so it’s so important.
I was more punk and I loved all music, but I probably listened to The Clash more than most [laughs]. And as I’ve gotten older, classical music, opera, I think there’s something, I still love the same music I did when I was younger, I’ll still listen to The Clash but I think
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You’ve been away from the limelight for a while and now you are back at the Venice Film Festival with ‘Maria’ and also ‘Without Blood’ which you directed and co-produced premiering at The Toronto Film Festival. How do you feel about these two premiers after spending so much time away from the business? You know, to be honest, I’ve needed to be home more with my family these last years. And, in that time, I’ve become maybe more grateful to have the opportunity to just be an artist and play and be among all of you, to just be in this creative world that we are all fortunate to be in some way a part of. So I’m happy to be here and I’m grateful to be able to be an artist in any way. So, that’s how I’m feeling. Yeah, thank you.
INTERVI EW ANGE L INA JOL I E
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