Interview with Mert Süngü

Mert, tell us about your involvement with Victorian Opera.

At the first day of rehearsals i noticed two important things. The members of Victorian opera and the cast created a very welcoming atmosphere. In addition to this, i could feel the will to make the best out of this genius score by G.Rossini. The working atmosphere breeds freedom of expression that one can tell his feelings and ideas without hesitation; therefore try different colours, variations and phrase in various ways, of course, always respecting the style of the composer. This is crucial in order to find the optimal quality that fits our individual voices and understanding of the roles.

What are some of your favourite operas?

My 3 favourite operas are Rodelinda by G.F.Händel, La Cenerentola by G.Rossini (has always been even though I am singing it for the first time. This is my role debut) and Turandot by G.Puccini.

Rodelinda because of Händel’s dramatic language that he uses to portray the complex emotions of Rodelinda, Bertarido and Grimoaldo.

La Cenerentola for pure love of Angelina and Ramiro. Opera’s theme “trionfi la bonta'” / “Let goodness triumph” gave me hope when i had difficult times as a teenager. The libretto is put to music in the most gracious way with a sensitive and elegant musical language.

My third choice is Turandot for its epic and mystical features. Role of Liu in particular has always captivated me for the pure love that she has for Calaf.

How did you first get into singing and performing in operas?

In high school, I sang musicals and rock music. The lead man of the bands that i listened were tenors; Freddie Mercury from Queen, James LaBrie from Dream Theatre. But then i noticed that the poetry and the books that i was reading matched more with Opera and classical art song repertoire. Slowly i discovered classical vocal music. And here i am.

You’re taking your friend to the opera for the first time, what opera do you take them to and why?

If my friend is a sensitive person, i would take them to the bel canto masterpiece Lucia di Lammermoor by G.Donizetti or to La Traviata by G.Verdi. Both have a strong and emotional stories written by the exceptional novelist/writer of their time: Sir Walter Scott and Alexander Dumas. The librettists Salvadore Cammarano and F.M.Piave did phenomenal job to adapt these two plays to opera libretto/i. It touches the heart.

If my friend is into pop culture i would take them to Don Giovanni by W.A.Mozart or Rigoletto by Verdi to make them decide whether opera or Mtv/Hollywood has more “badboy”s. (In my personal opinion more villains than “badboy”s). In addition to the story, these operas have great melodies that they heard in the past, for sure, while watching a movie or a TV commercial.

If my friend is a dreamer, i would take them to Magic Flute by W.A.Mozart or Turandot by G.Puccini so that they will experience a mystical night and forget about their daily stress. And next day they will be humming the music for sure! Once those melodies are heard, they stay in the brain forever.

What is your favourite snack to have at an interval of an opera?

Once, i had a simple and delicious small bowl of gnocchi alla sorrentina at the interval of Händel’s Tamerlano in London, Covent Garden. Just a glass of wine is a good option too. Personally I like aromatic bottles in an interval. A glass of Prosecco Rosé DOC BRUT, Riesling or Gewürtztraminer is always a good choice for me. I like colours, both in music and wine.