When I first talked to him, I had a feeling that we had known each other for years. With his laid back air, relaxed manners and whimsical comments soon I forgot that we were new acquaintances and let my guards off. I guess I had made one or more out of place jokes that I wish I hadn’t. When I started this series, apparently he was one of the first people I contacted and we did the interview from distance. I discovered a modest and hard-working personality beyond that carefree and playful layer that was hard to see through when we met in person. During the interview, over and over I noticed him avoid talking about his accomplishments, instead focus on what he needed to do (perhaps, the secret of his success is this mindset). Folks, the guest of the Galosh, Zhiguli series for the month of January is Azer Zada, the first Azerbaijani graduate of the La Scala Academy in Milan, Honored Artist of Azerbaijan, who left everything at the age of 19 to pursue his dream to become a professional opera singer.
Check out his site at www.azerzada.com
Read here the original interview in Azerbaijani
Azer, when we met last it was the summer of 2021 at the Arena di Verona, the 150th anniversary of the Aida Opera. You performed Radames under the direction of already living legend conductor Riccardo Muti. I remember I was so consumed during the whole play trying not to miss a word coming from Radames. I was just proud of you. No doubt, there is a lot of sweat and blood behind this success. How did you get invited to such a prestigious event? What did it mean for your career?
When I received this offer, I was over the clouds. He is such an influential conductor that every musician, every opera singer would want to work with him. It’s great to work with him. I will be performing with him again in mid-December [of 2021], I’m very much looking forward to it. Muti first heard me when I was performing in Aida in Ravenna. He wasn’t conducting but came to the rehearsals and listened to us. Our first acquaintance started there. Then I was invited to a concert in Ravenna and performed with him. Afterwards he invited me to the Arena di Verona. Of course, this was a very important moment for my career and I am grateful to him for this.
Performing on a huge amphitheatre as famous as it is sounds very exciting, yet somehow nerve racking too. All eyes are on you. Everyone else aside, you have your own expectations from yourself.
Of course, the adrenaline is very high. Immense amount of responsibility too. Especially, if it is season’s opening concert at the Arena. All the eyes are on you. There is also a reality. You are a foreigner, but you should not sound like a foreigner. I actually spend a lot of time on it and I must say I really enjoy this work, the rehearsal process itself. But on the day of the play there is a lot of adrenaline and nervousness. Maybe that’s why I picked this career. Good sleep before the performance is also important for me.
Let’s to go back to the beginning. How did it all start?
I was born into a family of musicians, there was always music in our house, especially classical music. That’s why I grew up surrounded by music, musicians and artists. But I didn’t practice it until very late, at least professionally even though I had a desire for music since childhood. Regardless, I think when I started, I already started with something. The music was everywhere, I had developed an ear for it, involuntarily accumulated knowledge. One day I made this radical decision to quit my job and follow my passion. Then I was 19 years old working in a bank. Thus everything started. I am grateful to honored artist professor Huseyn Aliyev for the guidance in that early period. When I am in Baku we meet, he checks my voice. He is my first teacher, will always remain so and our relations mean a lot to me. As I said, I started at the age of 19 and before turning 21 I left for Italy. First I studied in Osimo, took some master classes. Since 2014 I live in Milan and I am a graduate of La Scala Academy.
So, you didn’t sing until you were 19 years old. One day you said “That is it, singing is my call!” Is that how did it happen? How did people react? Your family?
Yes, I started when I was 19, didn’t perform before that. At first, the reaction was not very good, even from my father [distinguished musician himself]. Because he didn’t know my voice and capacity. But upon hearing he gave his consent and his blessings. I am grateful to him for that.
It sounds like a story from an inspirational storybook – at the age of 19, one day you leave everything behind to pursue your dream of being a professional tenor. Shortly after you even leave your family behind. Wasn’t it hard?
Of course it was. I miss my family. 28th [January] is 70th anniversary of my father. I can’t be with him on this day because of work. There are new debuts, I need to rehearse. My family understands me, and I am grateful for that. I miss him, my family, my hometown and my country very much.
Why Italy?
You know that Italy is home to opera. I started in Osimo, took master classes in Italy and Spain. Then I decided to try myself at La Scala Academy in Milan. Admission exams were very difficult which shouldn’t be surprise as it is one of the best schools out there in the field. My student years were also wonderful here. During those years I always felt the support of our state. This of course, is encouraging. I have been living in Milan since 2014.
When did you feel that your career took off?
Frankly I don’t focus on advancing my career. Rather I work on improving my voice and performance. Of course I try to keep an eye over the general picture but the main focus is on my voice.
How do you work on the quality of your voice?
Speaking in general, our voice is our instrument, and it is individual for everybody. A performer, especially, an opera singer must know his tone, voice and understand which repertoire is good for his voice. It is not an easy task. Things can change with time – ageing, bodily changes, all sorts of changes affect vocal cords. It is a very delicate instrument. For us, protecting this instrument is very important too.
Where was your first performance and did you later return to the same stage in the lead role?
My first performance was at the Opera and Ballet Theater [Baku, Azerbaija], it was a small role in Carmen. I will perform there again in May again in Carmen. This time I will be in the lead role. Of course this is a moment of pride. My first major role there was in the opera L’elisir d’amore, in the role of Nemorino. In March this year I will perform that role again there. I am very excited.
Any plans about joining contests? Also is there a stage where you’re eyeing to perform?
My biggest dream is to do what I love. I think competitions and contests would probably be more suitable for younger people, I am already 31 years old. As for the stage I have been on many stages, including many concerts at La Scala, Bolshoi Theather, Arena. Have performed a duet from Othello, performed in Tosca. I would like to perform at the Metropolitan Opera in New York. I hope it will happen too. I think the most important thing is to focus on self-growth.
You’ve performed a lot of roles but you mentioned Othello and Tosca. Is there a reason?
I perform Tosca a lot in Italy, Russia, France and other countries, in the role of Cavaradossi. As for Othello, I think it takes years of experience to convey the psychological state of this character, the turbulent state of his soul. It is not about comprehension or understanding, I think it requires life experience. This opera has a very complex libretto. I hope that in the next ten years I will feel ready for this role.
Let’s switch the focus onto Azerbaijan. You receive invitations to perform. In what ways, always in your area of profession, you think the country may benefit from Italian art and music, Made in Italy know-how?
I receive many invitations and lately have performed there quite often. Playing at my home country is fulfilling. My last performance was in Aida there. While I was there, I gave a master class to young performers. I think, supporting them through information is important. Being informed makes difference when one performs. Intelligence is palpable.
Is there a specific project in mind that you’d like to realize?
I think a lot of work can be done, a lot of projects, ideas. In my opinion, we need to think about the quality first. If there is no quality, the end result may seem uninteresting. Especially when it comes to opera and classical music. You can open an opera studio or inaugurate an academy, these are all great initiatives. But the most important thing is quality. This is my idea – focus on the quality first.
Do these two cultures have similar operas? Have you ever considered synthesizing an opera from both sides?
Frankly I think these two cultures do not have similar operas and this is normal. However, the music of Fikret Amirov’s Sevil opera and Koroglu opera, especially Sevil opera is close to European music and can be easily performed on European stage. I think it would generate interest in any part of the world. Because the theme is very relevant, and the music is very beautiful. In general, our music is very beautiful and rich. It would be great to bring this music to the world stage.
What is your lessons learnt that you’d advise to Azerbaijani youths who want to pursue their dreams like you?
I think first comes the mental state. I’d say just feel calm. A lot depends on our mental state. Success comes when we manage to direct our energy in the right direction. It is very important to work on personal growth. Thinking too highly of one’s own skills stalls growth. One should be hungry to know more and grow. Also it is important to have a good grip of one’s own reality. Being honest with ourselves is essential. When a person is sincere with himself and admits to that he does not know that is where learning begins.
