Interview with pianist Vlad IFTINCA

“I would come to Romania more often if my profession would be respected, and knowledge I have gathered acknowledged...”

Romanian pianist settled in New York, Vlad Iftinca has developed an outstanding career in the international world of opera. His mentors were James Levine, Renata Scotto, Regina Resnik, Kiri te Kanawa, and for recital partner, he accompanied artists with a brilliant career today: Thomas Hampson, Deborah Voigt, Hei Kyung Hong, Luca Pisaroni, Isabel Leonard. Vlad Iftinca is "staff pianist" at the Metropolitan Opera, where trains young talents. Born in Romania, Vlad Iftinca studied at the Reina Sofia Music School  and at the Real Conservatorio Real in Madrid, Spain, and then at the Mannes School of Music, and respectively, at the Juilliard School in New York. Presently, Iftinca Vlad is in Canada where he teaches in St. John's (Newfoundland and Labrador), within the festival "Opera on the Avalon." In July will hold two concerts with Thomas Hampson, a collaboration initiated three years ago. In September will go to China for two recitals with the bass-baritone Shenyang (Cardiff Singer of the World 2007). In November, at the initiative of baritone Sir Thomas Allen he will be a visiting professor of the Academy Samling which the baritone leads in Northern England. In future he also has scheduled recitals with soprano Erin Morley in Utah, and at the Carnegie Hall in February 2012 and, of course, in the 2011 to 2012 season at the Metropolitan Opera in New York.

You are first pianist of the Metropolitan Opera in New York, a position that you occupy at the end of an exceptional professional path: born in Iasi, raised in a family of artists, you have studied in Madrid, Dallas, New York. Who were the people and what were the events yielding and accompanying this journey?
I began studying piano at five and, as I was brought up into theatre I had the great opportunity to observe and even to play in many shows of the Iasi opera and theatre. One of my mentors was Adriana Bera, currently at the "Gheorghe Dime" Music Academy of Cluj. I don't think I'd be where I am now without her guidance. Then followed advanced studies in Madrid with great musicians like Dimitri Bashkirov, Marta Gulyas, Galina Eguiazarova. My first musical experience in the United States of America was Dallas, where I became very involved in the opera department of the Southern Methodist University. There I understood for the first time that working with voices, working in an opera company work is a profession appreciated and respected and that it requires many other qualities in addition to being a good pianist. Over some years I completed a Masters Degree in Vocal Accompaniment at the Mannes College of Music and also at the Juilliard School, both prestigious institutions of musical education in New York. During these years of study I had the honour to learn from living legends of the opera, like Renata Scotto and Regina Resnik. With these great ladies of the canto I perfected the bel canto style, the different style of each composer, the characters' psychology, a large part of the interpretation details, everything that a "vocal coach" needs in this profession. It is very important to mention the study of the international phonetic alphabet (IPA) of each language in which is represented the standard repertoire of a theatre. By auditioning, I got to the Metropolitan Opera, where I met great artists, as well as the one which I regard as one of the musical geniuses of the world, James Levine. He gave me the opportunity to learn from him, learn what is necessary for an opera to be a real experience, credible to the audience and the musicians – that what many of us call the ideal, supreme performance.

What does New York has to offer to you, as a musician?
I wouldn't know where to start. Without any present order, I'd start with museums and theatres where I had the opportunity to see great actors interpreting Chekhov, Williams. Just to mention a few names: Jessica Lange, Dianne Wiest, Alan Cumming, Maggie Gyllenhaal, Patrick Stewart. Also, the Carnegie Hall concerts, with recitals of Radu Lupu, Mitsuko Uchida, Andras Schiff, etc.

At the Metropolitan Opera in New York you are also in charge of promoting young talents. Related to this, Romanian media featured the statement that "Vlad Iftinca decides who will be the new Pavarotti and who the new Angela Gheorghiu of the world." How close or remote from the truth is this statement?
This statement is remote from the truth or, better said, it needs some clarification. I work with young talents form the Met, led by Maestro James Levine. He appointed this task to me and, indeed, I work with him in terms of the repertoire and the studies of these singers. But I do not decide their career; this decision cannot be taken by anyone. Each artist has his unique path, which is sometimes not so good. Nowadays, to succeed in this profession you need many qualities: discipline, complete dedication to the profession, a good health and, firstly, continual power of concentration.

What experiences brought you to the position of promoter of young talent at the Metropolitan Opera?
I prepare these young people for the roles sand on stage and my satisfaction is the result and the level they reached when all the hard work is rewarded by success on stage.

To what extent do you identify and support young talents from Romania?
Unfortunately, I don't know very well the canto students from Romania today.

How often do you hold concerts in Romania?
I would like to come to prepare performances, or prepare students, accompany in concerts some of the great artists I work with today. Unfortunately, this opportunity has not yet occurred.

What are your comments / experience of the opera in Romania?
In the last four years, during my short visits to Romania, I had the opportunity to watch several performances of opera theatres in Romania. Unfortunately, I was extremely disappointed with the level that cannot even be called mediocre. I am not comparing it to the performances at the Met, but am talking about fundamental musical and language mistakes in the music made on music score.

Under what circumstances would you return to Romania?
I feel at home in New York. But I would come to Romania more often if my profession would be respected, and the knowledge that I have gathered from so many great singers and conductors would be acknowledged, appreciated and useful to opera in the country.

What are you looking for, professionally, in the future?
Continuing what I am currently doing, recitals, master classes... A possibility to teach generations of singers to come - all these professional details learned at the legendary school of canto. And maybe to conducting...