Opera News & Press

Talkin' Wagner

An interview with Lise Lindstrom in NOLA Defender.

Talkin' Wagner

March 18, 2010

Hallie Gerard

Lise has become the stuff of opera legend in quick time. In October, she debuted in the Metropolitan Opera Company’s Lincoln Center production (legendary Zeffirelli) of Turandot on last minute notice, without so much a dress rehearsal. The quantity of ovations were exceeded only by the number of outstanding reviews.

On Friday, she performs as Senta with the New Orleans Opera in Wagner’s The Flying Dutchman. The Defender caught up with her in her dressing room for an exclusive sitdown chat. The conversation was filled with love and laughter, the way opera and arts should be discussed.

NoDef: Welcome to New Orleans. Glad to have you here!

Lise: Thank You.

NoDef: I wanted to begin by discussing Wagner specifically. What is the appeal of Wagner for you, personally?

Lise: Well, that’s a multilayered question.

NoDef: It always is with Wagner!

(Laughter)

Lise: First of all, the appeal of this Wagnerian piece, specifically, is that it is an early work, and he is embarking on a new style of composition, and still sort of fleshing that out which is completely developed by the time we get to Tristan and Isolade, but he has a different way of using the orchestra, a different way of writing the drama of incorporating it all compared to Italian Opera.

NoDef: What do you think the appeal of Wagner is to the public? What is it about his work that inspires a cult like following, a sort of classical equivalent of the Deadhead?

Lise: Right. The WagnerHead.

(Laughter)

NoDef: Yes, the WagnerHead! Without alienating your fanbase—

(Laughter)

Why does he attract this phenomenon unlike, say, Puccini?

Lise: I can tell you an easy answer to that. Every time one listens to, or experiences a piece of Wagnerian opera, theater, whatever, it’s a new multilayered experience. And, it’s not unlike being a Deadhead in that you can hear “Box of Rain” so many times, but every time you hear it, it’s a new piece, a new experience, it has another layer to it. It’s certainly rich, and complex, and delightful, and enjoyable.

Wagner just has a different depth.

NoDef: Staying on The Dutchman, in particular, let’s talk about the ending. Are you of the happy ending school?

Lise: Yes. Absolutely. Wagner’s whole deal is redemption through true love! And, this it in spades! There would have been no happy ending for Senta if she hadn’t found the Dutchman. So, the fact that she did run into him, literally, in her own house… at the invitation of her father.

NoDef: He sort of found her!

Lise: Well, yeah. It’s fate.

NoDef: Fair enough. Although, she did have his picture on the wall!

Lise: Well, there is that. There’s a certain amount of obsession in play!

(Laughter)

NoDef: It makes me question whether her father was hustling the Dutchman!

Lise: You would not be alone in that sentiment.

NoDef: Good to know that NoDef is line with the operatic scholars of the day!

(Laugher)

NoDef: Have you ever performed an intermission free version?

Lise: No. I must admit, the intermissions, and the chance to sit are welcome! This opera is a marathon of everyone involved, particularly the Dutchman and Senta. The Second Act for me is enormous, it’s just one big sing after another. Ba-Ba-Ba-Ba-Bahm. So, to perform it without a break between the second and third act can just be a little tiring.

NoDef: Earlier today, I was having a debate. Our pub received some criticism that we should focus on art OR music, because devotees of both are compartmentalized. I don’t believe this to be true. So, let’s spend a second talking about opera for the uninitiated!

Lise: First of all, I’m glad you didn’t not heed this critics advice, because I find that theory most insulting! I think it ridiculous that any type of artist would not take another variety of artistry seriously. I think we all do, and if we don’t we’re doing a disservice to us all because everything I see and do affects how I perform my art!

NoDef: So, for the newcomer, can you tell us about the life of an opera singer?

Lise: First of all, there is a lot of travel! It is one of a lot of challenges in the day to day life, you’re not at home ever!

NoDef: Are you exaggerating? How many days are you on the road?

Lise: By now, 300 days a year, easy.

NoDef: Wow!

Lise: However, that being said, it’s sort of fantastic that you’re underway and working on different pieces all the time, and we work anywhere from two to eight weeks on a production before we begin performing. Within those spans of time, we get to discover new parts of our characters, new parts of the opera, new parts of literature, new aspects of life and art all the time!

NoDef: What’s next?

Lise: I get to go to Amsterdam for a production of Turandot, then Berlin, then onto Glimmerglass.

NoDef: Favorite city… outside of New Orleans…

Lise: Well, I was just going to say—not to be corny or to pander at all—It happens to be whatever city I’m in, unless it happens to be, I don’t know, Fresno.

(Laughter)

NoDef: What inspired you to be an opera singer?

Lise: I was raised in a musical family. My mother was a music teacher. I thought I wanted to be in musical theater. Singer, dancer, actress—triple threat kind of gal! My voice didn’t work out that way. In the end, this wound up to be a much richer, texturally, career for me. I am very grateful!

NoDef: So are we! Advice for the aspiring musician?

Lise: So much advice! Is any of it really useful? Follow your heart. Follow your calling! There are many ways to be a musician, you don’t have to sing at the Met to be a successful musician. There are many different ways to be happy and fulfilled in your art form.

NoDef: Thank you, truly a pleasure.