Prior to The First Emperor, you had already sung in world premieres of operas by a range of composers, including Ginastera, Menotti, Garcia Abril, Torroba, and Drattell.
We have enough traditional works to please the public, but I think we should give possibilities to composers of our time. One of my sons is a composer. I know how important it is for them to have new things presented. For Washington I commissioned Democracy by Scott Wheeler. Los Angeles will premiere The Fly by Howard Shore, which I will also conduct. Then, Il Postino by Daniel Catán, a Mexican composer. Rolando Villazón will do the title part, and I will be Neruda. And with contemporary operas, it's important to give the possibility of a second time. I'm happy we co-produced The First Emperor for Los Angeles. If anybody presents me with something I consider to be of value, I'm ready. So I was naturally very, very happy to participate in this important premiere with Tan Dun last season, and I'm happy we're doing the revival now. I have always had a place for new works. I sang the chaplain in Dialogues of the Carmelites in my debut season in 1959—in those days, an almost-new work.
I've read that you feel it's your duty as General Director of the Washington National Opera to present American works.
Since Washington is the capital of the country, it's important that the public hear American operas and know that they have great value. In fact, the public loves it so much that I have been doing many different things—The Ballad of Baby Doe, Susannah, Of Mice and Men, A Streetcar Named Desire, Dangerous Liaisons, Sophie's Choice, A View from the Bridge...
Why did you take on The First Emperor?
I had done everything at the Met but a world premiere. And for me it was important. I developed a friendship with Tan Dun, and I saw the open door.
Were you talking to Tan Dun about the music while he was writing for you?
We talked, and we took some things out and put in some new things. You never get these operas under your skin until you start rehearsing, and now for the revival, Tan Dun has made some additional revisions. It's wonderful that he is conducting again. He knows what he has in mind, what he wants to create with the orchestra and to do with us.
What would you say to audiences who want to see Bohème but are afraid to try The First Emperor?
As a matter of fact, I know some that go to a world premiere or American opera and say, "I love this the most," because of the drama or being able to understand their own language. We need people to know it is something they can love. Music should be mandatory in every school. They don't even have to know it's classical music. They can learn the tunes—get it in their spirit, in their soul, just like they get pop music every day at home.
What do you listen to at home?
My life is so full of music, either learning a new score to conduct or memorizing a new opera. Just to sit down and listen to music, that's really difficult. I would really like to have some free time, but at this speed of career... Who knows? Maybe in a few years.
–Elena Park
This story appears courtesy of Playbill.
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