Olya Al-Ahmed Author in Fakti.bg
"The roles have accumulated, the years have passed quickly. It's hard to believe that so much time has passed," says the singer, who is celebrating thirty years since her stage debut. She is happy that in these celebratory moments she will sing again on a Bulgarian stage at the special invitation of the director of the Sofia Opera and Ballet Plamen Kartaloff.
She is in the cast of two new productions. On 13 July she will be Brunhilde in Richard Wagner's "Götterdämmerung," a new production celebrating the 210th anniversary of the composer's birth, and then in early August she will perform the role of Cio-Cio-San in Giacomo Puccini's "Madama Butterfly," a new production on the programme of the Eighth "Opera of the Peaks Festival" – Belogradchik Rocks.
Iordanka Derilova made her debut on 10 March 1993 at the Burgas Opera with the role of Élisabeth from "Don Carlo" by Giuseppe Verdi. She was still a student, and her teacher at the Music Academy in Sofia was the conductor Ivan Vulpe, who was then also the director of the Burgas Opera. An interesting fact is that the role of King Filippo II was performed by her husband Krasimir Derilov. Her debut in Sofia was in 1997 again in "Don Carlo". "When I prepare a role that I have already performed, I always look to complete the image, to build up the content. The change also happens because of the maturation of the voice. In my repertoire there are roles that I constantly sing in different places, in different productions – modern or classical. I think one has to put oneself in the director's requirements, which are different in each version," tells Derilova.
She has already sung the part of Brünnhilde in Sofia, as well as during the Sofia Opera's visit to Füssen, Germany in 2015.
She made her debut as Cio-Cio-San on 11 May 1999 at the Prague Opera, and the last production of this opera in which she participated was on 28 April this year in Dessau.
Actually, Wagner and Puccini are the composers whose images she often performs.
"I believe that as long as the voice allows and the singer knows how to approach the role, how to prepare and present it, as long as there are qualities, good staging and technique can be combined in Italian and German music. The singer has to stay true to himself and approach smartly," shares the singer.
Iordanka Derilova has many parts in her artistic portfolio.
"There are twelve from Verdi alone, six from Puccini, Leoncavallo – Nedda, Mascagni – Santuzza, Pierantonio Tasca – Santa Lucia, Mozart – Fiordiligi, Donna Elvira, Dvorák – Rusalka, "Katja und der Teufel" – The Princess, Wagner – nine roles, Tchaikovsky – Liza, Mussorgsky – Marina, Shostakovich – Katerina Izmailova, Prokofiev – Renata in "The Fiery Angel" and Fata Morgana in "The Love for the Three Oranges", Thomas – Mignon, Beethoven – Leonora, Richard Strauss – Elektra and the Field Marshal, Kurt Weill – three roles, Krenek – The Dictator, Weber – Agathe from "Der Freischütz", Korngold – Marietta in "Die tote Stadt", Janacek – Emilia Marty in "The Makropoulos Affair". I would add requiems by Verdi, Mozart and symphonies by Mendelssohn, Mahler, Dvorák. Taking stock – my repertoire is huge". She is eager to sing "La Gioconda", "Andrea Chénier", and "Adriana Lecouvreur". These are things I have set as a goal, the singer said.
- Is there anything left undone?
- Come to think of it, I would like to sing "La Gioconda", or "Andrea Chénier", as well as "Adriana Lecouvreur". These are things I have set as a goal.
Next season at the Dessau Theatre, she will again be Isolde in Wagner's "Tristan und Isolde", and will also sing in the new production of Mozart's "Don Giovanni". There are other projects that are still unannounced.
Iordanka Derilova is a graduate of the Lyubomir Pipkov Music School in Sofia, then the National Prof. Pancho Vladigerov Academy of Music in Sofia. She specialized with Alexandrina Miltcheva at the Boris Christoff Academy in Rome. Her first permanent engagement was with the Prague Opera in 1998. Since 2003 she has been a member of the ensemble of the Dessau Theatre, where she remains today. In 2009 she was awarded the title of Kammersängerin. She was awarded the "Premio di Aida" at the "Vissi d'Arte" competition in Salerno in 2005 and the "Theo Theatre" Award for Best Singer.
In Bulgaria, Iordanka Derilova never misses an opportunity to make a guest appearance whenever she is invited and it is possible to come. Her relationship with the Sofia Opera and Ballet is particularly strong, where she performs some of her most significant roles. In a previous production of Wagner's tetralogy, she received rave reviews from eminent professionals for her portrayal of Brünnhilde in "Götterdämmerung" during a performance here in Sofia and a guest appearance in Füssen, Germany in 2015.
Paul Dawson-Bowling, "Wagner News": As Brünnhilde in "Götterdämmerung" was Iordanka Derilova – a tall, stunningly beautiful blonde with a sharper timbre. It was a welcome for her amid the colossal orchestration of "Götterdämmerung", and her entrance into the fire was majestic.
About her:
Craig Nobles: Iordanka Derilova, Brünnhilde in "Götterdämmerung" set the stage on fire – and not just Siegfried's funeral pyre – with her huge voice, shimmering high notes and sure mid-range.
Christina Prasuhn, "Suddeutsche Zeitung": The most convincing performance of the evening came from Iordanka Derilova as Brünnhilde. While in Act II she sang very calmly, with clear articulation and a wide range of emotions, in Act III she showed all the qualities of her dramatic soprano.
Richard Dallapozza, "Rundschau Oberländer Wochenzeitung": Sofia-born soprano Iordanka Derilova as Brünnhilde impresses with her magnificent voice and remarkable impersonation. Above all, she impressed the audience with the height and lightness of her voice. Firmly committed to Dessau as a Kammersängerin, surely we will hear her on the big stages in the future...
Klaus Billand "Der neue Merker": Iordanka Derilova, who sings the pitches and long passages of the part with such intensity, and with such acting skill, is extremely impressive. She looks so young and beautiful that even in appearance we immediately believe her as the maiden on the horse. Both Martin Tsonev and Derilova could undoubtedly sing these roles on all the major stages in Europe.
"I met 'my' Wagner in 2006 when the Director and director of the Dessau Opera asked me if I wanted to and could we do the opera "Tristan und Isolde". Until then, I had not thought about Wagner, I was vaguely familiar with his works and had no interest in his oeuvre. Italian music has always been a favourite of mine. I told him that I would listen to and examine the keyboard extensively and see. Much to my surprise, I was fascinated, enchanted and fell straight in love with this opera! Of course, my response was with the question "When are we going to do the premiere?" It was scheduled for next season and was a huge success. Much to my delight, I was nominated for "Singer of the Year" in the Opernwelt magazine for my role as Isolde. Since then, this magical, captivating, titanic Wagnerian music with enormous power of impact has captivated me forever. Subsequent roles followed as Kundry (Parsifal), Venus (Tannhäuser), Ortrud (Lohengrin), Brünnhilde in the entire Ring (Die Walküre, Siegfried and Götterdämmerung) and Senta (Der fliegende Holländer). In Wagner, the main role is played by the text, the deep insight into the content, the subtext, the psychology of the characters in general. You can't just sing the music. Every single word or expression is infinitely important in order to achieve this symbiosis of text, music and drama, and to be understood by everyone. I would say that every Wagner role has contributed to my further development and growth as a singer. I am happy that my repertoire is very rich and varied. Now I am very happy to be reprising the role of Brünnhilde in "Götterdämmerung" in the new treatment by Acad. Kartaloff and I will certainly bring something new to my performance, whether it be singing, interpretive, or soulful and emotional, but it will be different. I always strive to rethink, improve, develop and refine my roles. I was still a student and my debut was at the Burgas Opera as Elisabetta in Giuseppe Verdi's "Don Carlo". The interesting thing was that we were on stage with my husband, who was King Filippo II. We accumulated roles, the years went by so fast. It's hard to believe so much time has passed. First performance in such a big role? It doesn't happen to everyone. As a student I was in the class of prof. Ivan Vulpe, who was then the Director in Burgas. So with him I prepared everything and stepped on stage."
- How much did the roles become?
- In a general review, There are twelve from Verdi alone, six from Puccini, Leoncavallo – Nedda, Mascagni – Santuzza, Pierantonio Tasca – Santa Lucia, Mozart – Fiordiligi, Donna Elvira, Dvorák – Rusalka, "Katja und der Teufel" – The Princess, Wagner – nine roles, Tchaikovsky – Liza, The Queen of Spades, Mussorgsky – Marina, Shostakovich – Katerina Izmailova, Prokofiev – Renata in "The Fiery Angel" and Fata Morgana in "The Love for the Three Oranges", Thomas – Mignon, Beethoven – Leonora, Richard Strauss – Elektra and the Field Marshal, Kurt Weill – three roles, Krenek – The Dictator, Weber – Agathe from "Der Freischütz", Korngold – Marietta in "Die tote Stadt", Janacek – Emilia Marty in "The Makropoulos Affair". I would add requiems by Verdi, Mozart and symphonies by Mendelssohn, Mahler, Dvorák. Taking stock – my repertoire is huge
- It's no problem for you to do both Italian and German repertoire.
- Yes, those years in Germany gave me a lot, but I also include the Czech period, where I was for five years.
- Wagner is one of the composers who are in your repertoire.
- I think that as long as the voice allows and the singer knows how to approach the role, how to prepare and present it, as long as he has the qualities, good staging and technique, he can combine Italian and German music – Wagner and Strauss – and he has to go carefully. He has to be true to himself and approach smartly.
Next season we'll make "Tristan und Isolde" and "Don Giovanni", as well as other projects I'm keeping as yet unannounced.
Iordanka Derilova has been invited back to sing in the new production of "Ring des Nibelungen".
- Is there anything left undone?
- Come to think of it, I would like to sing "La Gioconda", or "Andrea Chénier", as well as "Adriana Lecouvreur". These are things I have set as a goal.
Who is Iordanka Derilova?
Iordanka Derilova (soprano) graduated from the Lyubomir Pipkov National Music School and the Pancho Vladigerov National Academy of Music (1993), and specialised at the Academy in Rome with Alexandrina Miltcheva. She debuted on the stage of the Burgas Opera in the role of Élisabeth from "Don Carlo" (1993), and Desdemona in Verdi's "Otello" (1995). In 1996 she received engagements at the Stara Zagora Opera, where she performed the roles of Mimi in Puccini's "La bohème" and Amelia in Verdi's "Un ballo in maschera". In the following years she sang on the stage of the Sofia Opera – Élisabeth ("Don Carlo") and Amelia ("Un ballo in maschera"). Her engagements at the Prague Opera date back to 1998. In 1999 she toured Switzerland with "Tosca" and Élisabeth from "Don Carlo", and since 2000 she has been a permanent guest of the National Theatre in Mannheim with the role of Amelia from "Un ballo in maschera". In the summer of 2000, she toured Austria with the role of Abigail from "Nabucco" in the Summer Music Celebrations in St. Margarethen in Gianfranco De Bosio's super-production, starring Paolo Gavanelli, Askar Abdrazakov, Walter Donatti. Further tours followed in Munich, Nuremberg, Leipzig, Frankfurt, Linz and Bregenz with the role of Abigail. In the summer of 2001, she toured to Graz on the Open Stage in the roles of Aida and Abigail. She sang in Brno and Bratislava, and in November 2001 toured Japan – Tokyo, Osaka, Sapporo, Kagoshima, Fukuoka in the role of Aida, where she partnered José Cura. In 2002, she participated in the Doha March Music Festival – Qatar and in the premiere of "Aida" at the Open Stage under the direction of David Crescenzi, with the participation of Franco Ferrari, soloist of La Scala di Milano. In the summer of 2002, she toured Austria with the role of Tosca. In 2004 she toured with the Palm Beach Opera – Florida, USA with the role of Manon from Puccini's "Manon Lescaut".
Iordanka Derilova has not lived in Bulgaria for 15 years, but she is happy to perform in Bulgarian productions when she receives tempting invitations. Thus in 2009 she was Odabella in the opera "Attila" by Verdi – premiere of the Varna Opera, and this year she took part in the production by academician Plamen Kartaloff "Götterdämmerung" by Wagner.
For her high mastery Iordanka Derilova was awarded the title "Kammersängerin" – the most prestigious music award in Germany for an opera singer in 2009.
10.07.2017
The event really happened! After 28 years, when for the last time the opera "Ernani" by Giuseppe Verdi was staged on the stage of the Kailaka Summer Theatre, the Pleven audience was last night again involved in an incredible opera spectacle – the opera "Nabucco". The Pleven Philharmonic Orchestra conducted by Maestro Nayden Todorov, the soloists Iordanka Derilova, Aleksandar Krunev, Ivaylo Dzhurov, Elena Chavdarova and the Ghena Dimitrova Orchestra conducted by Anelia Decheva, the chorua of the Ruse Opera were the main actors on the open opera stage under the unceasing applause of the music lovers. Excellent marks for the sets, lights and sound! The event was part of the Pleven Philharmonic's project "Stage Under the Stars" and was under the patronage of the Mayor of Pleven Municipality Georg Spartanski. We would like to remind you that in the concept of the new director of the Philharmonic Lyubomir Dyakovsky, one of the main goals is to return the old status of the Pleven Philharmonic with an open opera stage. An extremely difficult and ambitious task, which will be realized with great energy and affection from all involved! We can already be sure of the realization of this idea! The first step with the "Nabucco" opera has been taken!
And more:
Chamber singer Iordanka Derilova has been a member of the ensemble of the Anhaltisches Theater Dessau since 2003. She graduated from the L. Pipkov National Music School and the P. Vladigerov Academy of Music in Sofia and continued her studies at the B. Christoff Academy in Rome. She made her soprano debut at the Burgas Opera as Élisabeth from “Don Carlo”, sang at the Sofia National Opera and in almost all Bulgarian opera houses. A permanent engagement at the Prague State Opera followed in 1998. She has sung on opera stages in Italy, Switzerland, Austria, the Netherlands, Lithuania, Cyprus, Qatar, Turkey, Russia, Poland, the Czech Republic, Slovakia, France, Spain and Germany.
During her permanent engagement at the Anhaltisches Theater Dessau, she made her debut as Isolde in “Tristan und Isolde”, for which she was nominated for the Singer of the Year Award by Opera the Opernwelt magazine. She was awarded the Premio di Aida at the Vissi d'Arte Competition in Salerno (2005) and the Theo Theatre Award for Best Singer. She was also nominated for the famous Czech Thalia Award for her interpretation of Tosca. The highlight in 2009 was the award with the title Kammersängerin (Chamber Singer). Central roles in her repertoire include the lead roles of Aida, Brünnhilde in “Die Walküre”, “Siegfried” and “Götterdämmerung”, Turandot, Lady Macbeth, Elektra, Tosca, among others, Abigail in “Nabucco”, Amelia in “Un ballo in maschera”, Odabella in “Attila”, Madama Butterfly, Isolde in “Tristan und Isolde” and Ortrud in “Lohengrin”, with which she has toured to many renowned opera houses, including Salzburg Festival Hall, Royal Opera House in Stockholm, Teatro Massimo Bellini Catania, Festival Hall Bregenz, Mannheim National Theatre, Theatre Dortmund, Hannover, Munich (Gasteig), at the St. Margaretten Summer Festival, Opéra de Massy & Paris Saint-Germain, Barcelona at Palau de la Musica and at the Füssen Festival Hall. In 2016 she won the Thalie Theatre Award as the best singer of the year 2015 in the Czech Republic. For the 2016 - 2018 seasons, she was engaged for the role of Liza in “The Queen of Spades” (Tchaikovsky) at the Theater Chemnitz and at the Ostrava National Opera (Czech Republic) for the role of Katerina Izmailova in “Lady Macbeth of Mtsensk” (Shostakovich). Theater Enschede in the Netherlands engaged her for the 2018/2019 season for the role of Marietta in “Die tote Stadt” (Korngold). In 2019, she toured in the new production of the opera “Turandot” at Theater Dortmund and the revival at Theater Chemnitz in the role of Turandot (Puccini). Next season (2020) she will sing the role of Brünnhilde in the revival of “Die Walküre” (R. Wagner) at the Theater Chemnitz. In 2020 she is also engaged for the role of Marietta in the opera “Die tote Stadt” (E. W. Korngold) at the Ostrava National Opera (Czech Republic). In 2021-2022, she was engaged in various roles at renowned opera houses, including as Abigail at the Ostrava National Opera, at the OpenAir Summer Festival Seebühne Bremen with Aida and Abigail, and in 2022 at the Theater Dortmund in the role of Tosca. She also toured with the role of Turandot at Theater Saarbrücken and Theater Regensburg. In 2022-2023, she is engaged for the role of Leonora in the opera “Il trovatore” at Theater Lüneburg. She has also sung the premiere of “Il trovatore” at Theater Hagen. In 2023, she is touring again to Theater Saarbrücken in the role of Donna Leonora in Verdi's opera “La forza del destino”.
Olya Al-Ahmed