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BAROQUE GIRLS:  Deborah York, Lydia Teuscher, Anna Bonitatibus

On January 15, 2006, the concert performance of opera “Orpheus and Eurydice” by Christoph Willibald Gluck in Moscow took place. Gluck’s “Orfeo ed Euridice” (original title), produced in 1762, is one of the most popular operas in the repertoire of the modern opera houses. Its challenging performance united efforts of the Chamber Choir of Moscow Conservatory, the ensemble of period instruments ‘Pratum Integrum’ conducted by Theodor Currentzis, and the three outstanding singers: Anna Bonitatibus (mezzo-soprano, Italy), Lydia Teuscher (soprano, Germany), and Deborah York (soprano, UK). These three tell about their approach in the De I interview.

Anna Bonitatibus

ON ART: In Baroque I take part in composing. Performer ornaments arias, adding details and intonations.
ON WORK: I often perform male parts. It is interesting to be in someone else’s shoes. The first time I had been given such a part I went to a pub and found a lot of interesting things about men: the other way of plastics, habits, and gestures.
ON LIFE: Music is not always the most entertaining thing to make, it is designed the same way as life itself. I like Dostoevsky a lot, and his world is as dark as can be, maybe this influences me.

Lydia Teuscher

ON WORK: To work I need to be happy in my private life, and I am happy.
ON LIFE: Some people think that singers or actors live some kind of unusual life, and this is wrong. We have the same problems and opportunities as everyone else.
ON MISSION: I do not like to hear that my performance was impressive; I appreciate when people say that something overturned inside them because of it.

Deborah York

ON WORK: When performing, my part is a part of me, I do not separate. I am a musician, not a diva. There are a lot of musicians on stage, not just me.
ON ART: Baroque is a conversation of instrument and voice, and the voice does not have to overcome the music. Baroque has highly extravagant forms but it does not require extravagant performance.


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