Spark and revel in the flame of opera passion

30 years of Operalia: Plácido Domingo honours rising opera stars on the global stage

By Debbie Hathway

For three decades, Operalia has been the most significant showcase for budding opera stars like South Africans Pretty Yende and Levy Sekgapane, previous Operalia First Prize winners now forging illustrious international careers. Rolex has been a presenting sponsor for 22 years, supporting the vision of Operalia president and founder Maestro Plácido Domingo, and underpinning the brand’s long-standing goal to help preserve and perpetuate culture across generations. Speaking in Cape Town recently when Domingo hosted the event for the first time on African soil, the legendary tenor and conductor thanked Rolex for their “generous support and unconditional loyalty. Without their educated commitment, their innate sense of mentorship and their invaluable sponsorship, Operalia simply could not represent, reward and honour legions of singers, year after year.”

Of the 34 contestants from 15 countries who made it to the quarterfinals this year, five were South Africans who had studied at Opera UCT. They included tenors Luvo Maranti and Thando Mjandana as well as baritone Sakhiwe Mkosana. Soprano Nombulelo Yende made the final 12, winning the CulturArte Prize offered by Guillermo and Bertita Martínez, while mezzo-soprano Siphokazi Molteno was one of five Zarzuela finalists.

STARS IN THEIR EYES

 Operalia 2023 First Prize winner Julie Roset, a soprano from France, feels lucky to have a job developed from passion – and talent – for singing, with potential for travel. She says she might never have discovered Africa otherwise. “I feel really lucky that this year Operalia was in Cape Town, because I loved it so much. On the day of the final I went up Table Mountain because the [weather] was so beautiful. It was really helpful to have this kind of surrounding, to stay calm.”

Roset says she was “really stressed” before her captivating final performance of the Bell Song (Où va la jeune Hindoue) from Léo Delibes’ Lakmé, but once the orchestra joined in after her starting a capella, she could relax. “I’m really happy because I had fun telling the story of the fairy of the bells. Our job is to bring the character to the audience, to bring them to a new world, and I love this aria for that. And the music is so beautiful,” she says. “My teacher always tells me, ‘Sing with your heart,’ and I think I did that.”

UNFORGETTABLE MOMENTS

Runner-up Eugénie Joneau, a mezzo-soprano from France, won a further two prizes – the Birgit Nilsson prize and the Zarzuela prize, bringing her purse to $45,000. The Birgit Nilsson is awarded every three years for outstanding achievement in classical music and opera. Domingo was the first laureate in 2009.

Joneau describes Operalia as “an extraordinary journey… unique, especially because of the prestigious jury. I’m so honoured to be the Zarzuela winner; it is a repertoire which I fell in love with. Maestro Domingo has a passion for this beautiful music and he shared this with all of us. Meeting and being conducted by him was fabulous. I’ll remember these few minutes all my life.”

Domingo shared the podium for the Gala finals with Maestro Kamal Khan, showering praise on the musicians of the Cape Town Philharmonic Orchestra for their ability to perform their own concerts as well as accompany ballet and opera.

SHARING GOOD TIMES

The evening’s emotional highlight for me was the closing performance by all 34 contestants of Operalia’s Anthem with text and music by Plácido Domingo Jnr. Quarterfinalist Luvo Maranti agrees, explaining that the lyrics are about “embarking on a journey (of a competition like Operalia) and sharing good times… Operalia is a competition but for the most part it’s about networking and getting to see people. It’s about working hard and [filling] yourself with that passion for music.”

What has he taken away from the competition? “It was a pleasure to be part of something of that magnitude. It opened my eyes in terms of the level of preparation, focus, and sense of individuality [required]. As much as we know opera is a very physical thing, it’s also a mental thing. You must be mentally prepared for it. I will work much harder, in fact.”

Meanwhile, Roset says she really liked that “everyone was so nice” and she made friends. “I will stay in touch with some singers as friends, not colleagues. I know we will share the stage together in the future and that’s amazing.”

Her advice on introducing people to opera, especially children, is to let them see something short, light and funny. “Christmas shows are the best, like Cinderella. The opera is performed in the language of the country – if you go with kids, they understand everything – and it’s shorter. It’s like you’re watching a Disney cartoon. Choose something by Mozart, Offenbach or Rossini – not too long, something funny. Comedy helps!”