Opera Passport \\Sandra Hamaoui\\
Opera Passport is an exclusive Q&A series by 360° of Opera that catches opera industry professionals in action, from all corners of the world.
Our newest guest in the series is French-American soprano Sandra Hamaoui, who is currently preparing to perform Lisa in Bellini’s “La Sonnambula” at Théâtre des Champs-Elysées (TCE) in Paris, France. The production runs June 15-26, 2021. It is directed by Rolando Villazón and conducted by Riccardo Frizza.
Sandra Hamaoui, pictured backstage during rehearsals at TCE.1\\This is a role, house and city debut for you! How are you feeling about it all, especially after a slow year for the industry and getting to sing in one of the cities you consider home?
I’m elated to be back on stage with an audience, and above all, to be collaborating with colleagues again. It’s funny how we’re labeled as “soloists” - I sang alone in my room for a whole year and I hated it! And performing in Paris is particularly special - this feels quite like home to me, so it’s a radiant way to come out of such a dark period. I’m especially grateful to Michel Franck and Baptiste Charroing at the TCE for the chance to perform again.
A moment in the rehearsal room. Photo Credit: @theatre_champs_elysees2\\You are in good company for this meaningful debut, how has sharing this experience with your stellar colleagues been so far?
I am indeed in really great company! The atmosphere has been so vibrant and good humored from day one. Riccardo Frizza is a special conductor: he’s extremely elegant, refined, and a true expert in this repertoire, as well as being so sensitive to creating the music with the singers; Pretty Yende is a beautiful artist with a great deal of charisma; Francesco Demuro has an admirable and unbreakable work ethic; Alexander Tsymbalyuk is very professional and experienced; Annunizata Vestri is so sincere and genuine; Marc Scoffoni is wonderfully humorous (and I’ll speak more about my admiration for Rolando below). And I have to say that the Chœur de Radio France is one of the friendliest, kindest, and talented groups I’ve worked with. It’s really such a treat to share the stage with sublime, first-class colleagues.
Stage Director Rolando Villazón and soprano Pretty Yende in rehearsal. Photo Credit: Patrick Messina3\\ What is unique about this production at Théâtre des Champs-Elysées?
Rolando re-envisioned this in a really thoughtful and interesting way: we’re still in a village (visually emphasized by carved mountains and beautiful projections), but there’s a particular accent on the rather constrained social norms that can come out of this kind of cocooned configuration. Perhaps one could say there’s even a religious influence, but not in a specific way - it’s more of a “made up” religion or belief system. Amina is the “misfit” in this set up: she is too free-spirited to conform or mold herself into this kind of etiquette. It’s extremely detailed in the portrayal of the characters: because the overall body language is focused on rigidity and austerity, we’ve spent weeks and weeks dissecting which movements, reactions, and gestures to use when and where. Rolando is a magical creature: he can transform into absolutely any character at any given moment and there’s an immense universe of limitless imagination in there. He’s demanding in the best way and I’ve learned a tremendous amount from working with him. And there’s a bit of a plot twist at the end, which I can’t reveal! You’ll have to come see to find out!
Stage rehearsals for La Sonnambula. Photo Credit: TCE4\\TCE is such a beautiful theatre and you have been spending a lot of time there... any little secrets or insights about the building you can share with us?
This theatre is really one the most glamorous I’ve seen, and it has a rich history of being a hub for modern music and all sorts of performing arts, especially during the “années Folles”. Stravinsky’s Rite of Spring was first performed here, which was hugely scandalous at the time and famously instigated quite a reaction and riot. It’s a beautiful Art Deco edifice with paintings by Edouard Vuillard and Jacqueline Marval; and, of course, there’s the quintessential golden iron curtain. In French, the word “somptueux” comes to mind - sumptuous. Yes, Avenue Montaigne and La Tour Eiffel just outside... C’est un théâtre très chic!
5\\What are your favorite things to do in Paris? Any favorite restaurants or foods you cannot miss while in Paris?
I absolutely love going to the markets when I’m here! Fortunately, I’m pretty closely located to the Bastille and Aligre markets, where there’s also a flea market with a ton of hidden gems to find. France’s affinity for flavor, be it the very simple or the most ornate, is one of my favorite aspects of this special culture. And if there’s one thing I can’t leave the market without (it sounds silly!): a little pot - or big... but at your own risk - of crème fraîche from the dairy counters! And if I’m not eating my way through this city, I’m walking through the streets of the Marais visiting as many art galleries as I can. I’ve always found visual art to be so inspiring, meditative, renewing, and stimulating.
Thank you Sandra for your time and insights! We wish you a big In bocca al lupo for your debut at Théâtre des Champs Elysées on June 15!
Follow Sandra on Instagram @sandrahamaoui and visit her website for more information.