S C E N E Clippings from world press with praises for Jadranka Jovanović Jadranka Jovanović (Photo: Vukica Mikača) Since the age of five, when I started playing the piano, to the present day, I have been giving myself to my gift. I loaded, followed, sharpened, discovered it more and more. I never chased awards, career, biography; I have always just followed, with discipline, with passion, determinedly and courageously, the talent written in my being. My job was to take care not to be in bad company, and everything else was “fate”, which I neither could nor wanted to change. It seems that fate was on my side and I’m grateful to it. I am glad about this award, although I believe that the biggest award in my life is the talent that has been given me. WHEN EVERYONE’S HEART TREMBLES One of your artistic encounters with Domingo was in the opera Adriana Lecouvreur in Barcelona. Mirella Freni also played a role in it. Even in such a cast, you succeeded in captivating both the audience and the critics? I accepted Adriana Lecouvreur, although convinced that the audience would greet me with disapproval. I thought that my voice, at that moment, was still green, while this veristic role implied dramatism, with a thick orchestra. Realizing that I received an extraordinary offer, a possible encounter with two greatest opera artists in the world, I accepted the challenge. Formula When an austere critic was asked what the “secret of Jadranka Jovanović’s irresistibility” was, he replied: – Intelligence, emotion, charisma. You will never guess who that critic is. I already knew Domingo from “La Scala” and Budapest, but we had never sung together. I offered my hand to Mirella Freni, she looked me up and down reservedly and said: “So tall!?” Then she turned to director Giancarlo: “Flat shoes for her, highest heels for me!” The rehearsals lasted more than a month, three times a day. The most fantastic work, the essence of art is around me. I am happy, creating, advancing, watching, enjoying. The premiere arrives and, in the second act, I enter the stage, unknown to the Catalonian audience, and sing the aria. No applause. Alone on the stage, in heavy silence, I say to myself: “There you go, Jadranka. Your anticipations are coming true.” Domingo enters during our duet, sings “Arioso” wonderfully, and the theater collapses. We continue further, Freni sings the famous Fedra’s monologue. We are all trembling, me, the chorus, the audience. Carried away by the greatest possible artistic sensation, I am completely free from fear. I’m thinking: even if it’s the last, it’s enough. We come to individual bows, and I enter the stage with dignity, expecting all the ammunition of this world to start firing at me. However, the entire audience begins yelling: “Braavaaaa, braaavaa...!” Even today I believe that, vocally, my voice was green for Princess de Bouillon, but my will, energy, personality, as well as the greatest artists around me, Domingo, Freni, Del Monaco, Romero, maestro Gandolfi, made everyone’s heart tremble to my interpretation. You were Carmen to Domingo, as well as to Jose Carreras, Jose Cura; you sang premieres of Carmen in Abu Dhabi, Tokyo, Nagoya, Sao Paolo, Rio de Janeiro, Rome, Milan, Athens... Who was the most convincing Don Jose? I experienced an absolute artistic collision with Placido Domingo, at our first joint rehearsal in the “Municipal” Theater in Rio de Janeiro, when he came to the beginning of the rehearsal straight from the airport. He had no need to know the direction for the production, because every direction is actually in singing, expression and emotions. It’s clear that Domingo is an artist who marked our époque, and there is no such artistic criterion in which someone else would stand before him. However, 82 SRBIJA • BROJ <strong>54</strong> • 2016.
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