"Nadir lives under the power of memory"

He is a man who lives under the power of memory. He carries within him a love that has never completely disappeared, and that is precisely what makes him both poetic and vulnerable. Nadir is romantic and very sensitive. I am particularly fascinated by his vulnerability and his determination. He is not a man who asserts himself through strength or authority. He is moved by a desire that is almost uncontrollable. That makes him very human. He is delicate, but not weak. On the contrary: he is extraordinarily bold, and that's what touches me.

The role demands elegance and breath control. You have to be able to sing endless arches, for example in the aria or in the duet with Leïla. In many ways, this is bel canto. At the same time, Nadir needs nobility of expression, a wealth of color and a very intimate way of singing. Especially in French opera, beauty must never be an end in itself. The real challenge of "Je crois entendre encore" lies in making everything sound natural and floating. This can only be achieved through the breath: the line must remain pure, the sound must float and the emotion must be lively without becoming sentimental. In this aria, too much can destroy the magic.

On the surface, it is a moment of great beauty, of friendship and remembrance. But musically, there is already something fragile in it, as if the balance could tip at any moment. It is precisely from this that the duet draws its effect: it is sublime, but not secure. Nadir knows that he has not remained true to his promise, and at the same time he loves Zurga.

This relationship is crucial to the whole drama. If Zurga were just a rival, the story would be much simpler. But he is a friend, someone with whom Nadir shares a common past, an oath, a real bond. That's why the conflict is so painful. Nadir is not only torn apart by love, but also by loyalty. In the end, he breaks this loyalty, while Zurga remains faithful to her to the end. I would therefore say that Nadir is not simply someone who betrays an old vow, but someone who perhaps realizes too late that some feelings cannot be silenced forever.

Yes, absolutely. It's particularly beautiful for us singers. In this opera, the singing voice itself plays a role in the plot. Nadir recognizes Leïla by her voice, and later, before the duet, she also recognizes him by his voice. This is very unusual and one of the most poetic ideas in the whole work. There is a special closeness of memory, desire and sound in this opera, stronger perhaps than anything that can be seen or captured.

What surprises me most is his instinct for atmosphere and character. He was very young and yet he already knew how to create his own world. There is already a sensual power, and there are these unmistakable, strong melodies. You can already hear the later master in the duet between Zurga and Nadir, in the duet between Nadir and Leïla, of course in Nadir's aria, in Leïla's arias and also in some powerful choral scenes.

I am drawn to their elegance and emotional sophistication. There is often a melancholy in this repertoire that moves me deeply. The French language is beautiful to sing, it determines the shape of the melody and even the dynamics. It's not easy to sing in French, but if you really master the language, it's a great pleasure.

I like the melancholy of some roles, and Nadir is one of them. He lives from memory, tenderness and inner conflict. Such characters demand a different kind of truth from the singer: you have to reveal them from the inside, and that can be very fulfilling. In Vienna, I am particularly looking forward to rediscovering him. Every time you return to a role, you bring more life, more experience, more ideas. The role changes with you. I'm not interested in repeating something I've done before, but in seeing what new colors, what new emotions and what new vocal solutions can now emerge. That is one of the great joys of our profession.