Natalya Romaniw: Debut Album
Soprano Natalya Romaniw. Photo credit: Patrick Allen
Welsh Soprano Natalya Romaniw’s debut recording Arion is set to debut on May 1 (Orchid Classics). The album is a celebration of Slavic song and takes its name from Rachmaninov’s Arion. One of Europe’s rising stars, Romaniw has been praised as ‘the outstanding soprano of her generation’ (Telegraph) and for her ‘glowing voice capable of astonishing power’ (FT). Her most recent engagement was with the English National Opera in the title role of Madama Butterfly. Joining Romaniw on the album is her teacher, friend and collaborator, pianist Lada Valesova. Romaniw and Valesova join Classical Post for a Q&A.
CP: Your new recording, Arion, was borne of your long relationship, first as teacher and student, and now as friends. Tell us about the trajectory of your relationship and how it led to the creation of this album.
Natalya: Lada and I have always had a strong bond, both personally and musically. It made the world of sense to me that we should put down on record, the strength of our musical relationship. Lada has always inspired the way I sing from a very early age. She has this magnetic energy at the piano which provokes an outpouring of emotion in my voice. She’s always been able to do that for me and especially in this repertoire, which we share a unique passion for. We both hold strong Eastern European genes and it seemed obvious that we should record the music we love most and share with our audience our passion for this repertoire. For me personally, it is my first mark in the recording industry and who better to do it with than one of my dearest friends, who not only plays for me on this disc but also has coached me through all of my operatic Slavic heroines.
Lada: This record is a culmination of many years of working together, getting to know each other as musicians, colleagues, friends. From our first meeting there has been a strong resonance, mutual respect and acknowledgement of meeting of two kindred spirits. The recording reflects this journey from our very first session to who we are today as artists.
CP: What are the highlights of the album?
Natalya: We have a selection of composers in both the Russian and Czech languages. We made sure to include the composers I have been acquainted with operatically, such as Janaček Dvorák and Tchaikovsky. We have also included some composers from our earlier days, where I was a student for Lada’s Russian song concerts at the Guildhall. Amongst them are Rachmaninov and in particular, the first song Lada ever taught me, which holds a very special place in our hearts and that is Gornimi tikho letela dusha nebesami by Rimsky-Korsakov.
Lada: To me each of the songs is like a dear friend, not one can be left behind or loved less than the other. Natalya already explained our selection, but perhaps personally for me Novak’s song cycle stands out. I always try to introduce and give voice to the lesser heard or known music. I dare say that Natalya’s rendition of this cycle is exceptional and will be a most valuable addition to Novak’s recordings. I hope it will inspire other artists to look closer into his repertoire.
CP: You both come from a Slavic heritage, correct? How does that influence your musical selections?
Natalya: We do indeed and we both strongly believe it has much to do with our connection to one another. I had a Ukrainian Grandfather on my Mother’s side and Lada was born to a Russian Mother and Czech Father. I’m a bit further down the food chain in terms of bloodline but the genes are very strong, you only have to look at our cheekbones to know that! On a serious note though, I think it really does give an extra edge to our interpretation of this repertoire.
Lada: I have a dual Czech/Russian heritage and have dealt with my identity some time ago, after some years of self-searching. People always ask me if I feel more Czech or Russian, which is an impossible question to answer. I know for sure that this dual heritage has made me very sensitive to various different nuances between the two cultures including of course their musical style and traditions. For the outer world I’ve coined the title “Slavic Cosmopolitan”, which seems to satisfy the questions of my identity and gives me space to deal with the complexities of my heritage through music rather than words.
CP: Why did you both choose a life in music?
Natalya: This might sound like a cliché but I feel it definitely chose me. Until I was 18 I really was just a young girl from Swansea, who knew nothing about this career, or the possibility of having one in this profession at all. All I knew was that I had a passion for singing, music, languages and drama and those who were there to guide me along the way opened my eyes and steered me naturally to where I am today. To them, including Lada, I am eternally grateful.
Lada: I have been always drawn to music, from a very young age. For example when I was a four year old I would kick the girl behind me in the ballet class, as I was too busy looking at the lady who accompanied our little class on the piano. I also spent hours either dance-improvising to the records in our living room, or singing made-up tunes, proudly declaring to my grandmother that I was “composing an opera”. I owe everything to my parents: I’ve just been very lucky to be so supported by them. And to all of my teachers and everyone who gave my opportunities.
CP: What album inspires your work?
Natalya: Unsurprisingly, it’s operatic and features one of my most favourite singers of all time, María Callas singing Tosca, with Di Stefano and Tito Gobbi.
Lada: J.S. Bach, St. Matthew’s Passion with Peter Schreier. It was a three-tape package brought for me to Prague by my father as a rare catch from then Western Germany. I remember I was shaken to the core by it. It is my dream to conduct it one day.
