Amelia Grimaldi in Verdi’s Simon Boccanegra is one of Federica Lombardi’s favourite roles. “She has to reconcile two conflicting forces and, in the end, she manages to do so. I think we could use Amelia’s qualities in today’s world.” “Above all, Amelia combines many facets in one single person,” says Federica Lombardi. “We witness the struggle between who she is and who she imagines herself to be. She was adopted as a small child and is delighted when she discovers Simon Boccanegra is her real father. But she is torn later when it turns out she must choose between her feelings for her father and for her lover — because the two families are on hostile terms. Ultimately it’s about contra- dictory emotions that she needs to reconcile. That struggle is even more important at this sensitive time in world history: it signifies the awareness that there is always this possibility of bringing opposing movements together.” She finds calling Verdi a feminist avant la lettre a bit of an overstatement, “but Amelia’s role certainly shows the strength of women. She’s an idealist, a bit in the nineteenth-century romantic and dramatic way, as well as a woman for our times — strong and courageous.” Delving into the role Lombardi has not worked with director Jetske Mijnssen before, but is looking forward to exploring the role further: “Every time I sing the role of Amelia, I get to know her better. I learn so much from each character, every new role, not just in terms of the history or the content or the singing technique but also on a personal level. Each new role makes me a better person, from delving into interpretations and finding out why someone does or doesn’t do something.” She is pleased to be an opera singer at this juncture. “Over the past fifteen years or so, acting has become much more “Each new role makes me a better person” important in opera. The aim is to evoke a complete, kaleidoscopic world, which makes it a far more interesting experience, for young people in particular.” She is looking forward to returning to Amsterdam after her debut here in Christian Spuck’s Messa da Requiem. “That was an amazing experience and such a poignant production. It was very moving to be so intensely involved with the mystery of death, and quite special to be working intensively with dancers for the first time.” When asked for her favourite composer, she names Mozart. “Perhaps because I had the opportunity to sing so much of his work at the start of my career: La Contessa in Le nozze di Figaro, Donna Elvira and Donna Anna in Don Giovanni, and Elettra in Idomeneo. Mozart helped me to perfect my technique. In recent years, I have expanded my repertoire with some Verdi and Puccini roles, such as Mimì in Puccini’s La bohème — a role that is very dear to me.” And when asked for her favourite character, she replies, “In practice I always fall in love with the character I happen to be exploring at that time, so that becomes my favourite role.” Text: Margriet Prinssen | Photo: Charl Marais the character In lovewith 63
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