Ketevan Kemoklidze offered the audience at the Final of the 63rd Competition a very special recital. Before her performance, our team had the chance to speak with her to look back on her experience at the Competition and discuss the current moment in her career.
— Twenty years have passed since your participation in the Tenor Viñas Competition. What does it mean to you to be back here today?
Twenty years ago, I was lucky enough to take part in the Tenor Viñas Competition, and I could never have imagined coming back to sing here, offering this recital. For me, it is an honor and a great responsibility. Barcelona and the Gran Teatre del Liceu are very special places for me, because that is where everything began. Returning twenty years later and singing on this stage makes me feel very happy and deeply grateful.
— What do you remember about your experience in the competition? What did it mean to you?
I was rehearsing for the production of Otello at the Liceu while I was taking part in the competition. The Viñas Competition has a very high standard, and singing on this stage is a huge challenge for any young singer. I remember the excitement, the nerves, and the enthusiasm of each stage.
For me, it was a great opportunity. The competition was very important because, for young artists, it is essential to have platforms like this, where you can showcase your talent before an international jury and an audience as discerning and knowledgeable as that of the Liceu.
— Where are you in your professional career right now?
I believe singers never stop developing, because continuing to grow is essential in order to be on stage. Even if you reach a high level, you must always move forward. I find myself at a very exciting moment in my career. I think the path I have followed and the one ahead are very rewarding, because I was fortunate to sing a great deal of Mozart, Rossini, and others, and now my repertoire includes roles such as Eboli, Carmen, and Amneris—larger roles. For young singers, it is very important to closely follow the development of their voices. Never rush things, always listen to the possibilities and capabilities of our body and voice, and follow your vocal instinct.
— How have you prepared the recital?
The first thing I did was look at the programme I sang twenty years ago. There are some things I could not repeat, but I did sing La favorita by Donizetti, so the first piece will be Leonora’s aria. I will sing Carmen, because it is impossible to go out without Carmen. I will also sing a Georgian song for the first time at the Liceu, a zarzuela, the aria of the Princess from Adriana Lecouvreur, and Mompou.
— What is the most important skill a singer must have?
I think there are some essential qualities: the voice, artistic intuition, and talent—not only to sing, but to portray a role believably for the audience. Musical education is also very important, because sometimes you have to learn a role in just a few days.
I believe that nowadays singers have more “duties” than before, because they must not only maintain vocal condition through solid technique, but also stay in very good physical shape, as the demands are greater today. We have many modern productions and must meet those expectations. Being in good physical shape is positive both for health and for singing well.
It is also very important to know how to communicate well, because we communicate with the audience, agents, theater directors, stage directors, and our colleagues. Human communication is fundamental. Nowadays it is also important to know how to present oneself, because we live in a world of social media and must present ourselves in an appealing way to both the audience and theaters. We can sing well and act well, but in the end we depend on the audience and the theaters.
That is why young singers must know which side of their personality and artistry to show, so that when someone has to choose, they choose that person and not another. As singers we must be more complete: sing, act, communicate, present ourselves well… many things come into play.
It is also important that nowadays many singers have the support of their families. That is another support network, and I think singers today have more support than in past times.
— What advice would you give to future contestants?
Enjoying the moment of singing is the most important thing, because if a singer enjoys their art, they can convey it to others. Being grateful to be in such a wonderful, magical, and historic place. The Liceu brings all these wonderful words together.
I remember the first time I sang on that stage: I felt deeply grateful, because it was something I had waited for for many years. I believe young singers should hold onto this feeling, because singing at the Liceu, where all the great singers of the world have performed, is truly magical.
And if the results they hope for do not come, it means nothing. The important thing is to sing well, enjoy the moment, and keep developing, studying, and fighting for your dreams. I am certain that dreams do come true; there comes a moment when they become reality.
It is wonderful for young singers to win competitions and prizes, but if it does not happen now, it does not mean it will not happen at another time, in other places, or that they will not sing on major stages. The most important thing is never to lose hope and to have a strong desire to pursue your dreams.
