Some singers leave their mark not only with their voices, but also with their ability to transform every role into a fully realized human character. Such is the case with bass Petar Naydenov - an artist whose career has spanned prestigious European stages and a repertoire encompassing some of the most significant bass roles in opera literature.
On June 7, he will make his debut on the stage of the Ruse State Opera as Don Basilio in Gioachino Rossini’s "The Barber of Seville" - a role in which humour, intelligence, and charisma are brilliantly intertwined. Shortly before the performance, we spoke with Petar Naydenov about the magic of Rossini, life on opera stages around the world, and those encounters with music that turn every performance into a unique experience.
Maestro Naydenov, you come from a repertoire filled with weighty dramatic and philosophical roles. What does it mean for a bass to “lighten the load” and enter the world of Rossini, where everything seems lighthearted yet is constructed with exceptional precision?
I have had the good fortune to perform the role of Don Basilio in numerous productions of *The Barber of Seville*—at the Helsinki Opera under the direction of Gian Carlo Del Monaco, in Linz, in Bergen, at the Festival in Sedier (France), in Malta, at the Sofia Opera, as well as in Dario Fo’s legendary production at the Royal Theater “Kare” in Amsterdam and Rotterdam, among many other stages. This is a role I always perform with pleasure, and in every new production I strive to discover different nuances and details that enrich the character’s development. For any bass, it is a true pleasure to return to Basilio and enjoy the brilliance, agility, and energy of this iconic role from the bass repertoire. “The Barber of Seville” is an opera full of life and lightness, and it is always exciting for both the performer and the audience. The audience feels this vitality, and perhaps that is precisely why the work is invariably received with such love and joy.
Don Basilio is often perceived as a comical and minor character, but he also possesses the ability to manipulate and exert influence through words and music. How do you navigate that fine line between humour and power?
It is true that Don Basilio often comes across as a comic character, but in my opinion, he is much more than that. I believe that Basilio is completely serious and deeply convinced of his account of the slander. It is precisely this certainty of his, supported by the exquisite text of the aria, that creates the comic effect and gives rise to the amusing situations. The character possesses keen observation and the ability to influence people through his words and presence. For me, the secret lies in not interpreting the character too comically, but rather building him upon the musical precision and rhythm established by the composer. The power of the aria “La calunnia” lies precisely in its ability to convey the pleasure Don Basilio derives from the way slander can compromise someone. That is where the character’s charm lies - in the quiet, insidious power of a man who knows how to manipulate.
On June 7, you will make your debut on the stage of the Ruse Opera in "The Barber of Seville”. After performing on so many international stages—Vienna, Palermo, Bergen, Tel Aviv, Bologna, Trieste, Madrid, Amsterdam—how does your sense of “home” on stage change? Is there even such a concept for an opera singer?
Over time, anyone who has dedicated themselves to this profession comes to understand that the concept of “home” has many different dimensions and meanings. Of course, there are places you return to with a special sense of emotion—stages, audiences, and colleagues with whom you share important memories and significant moments from your creative journey. Our profession teaches us to be constantly on the move—between different musical and cultural traditions, countries, and languages. Sometimes, when there is genuine trust among the artists, when the singers, the conductor, and the orchestra manage to breathe and create together, even an unfamiliar theater can feel like home. Every audience brings its own energy and temperament, and this also changes the feeling on stage. It is precisely these different encounters that make our profession so dynamic and rich. In this sense, our home is the stage and that moment when the overture begins and everything else fades away. I will be performing on the stage of the Ruse Opera for the first time, and this excites me tremendously.
Your repertoire includes roles such as Mephistopheles, Philip II, and Sarastro—characters embodying power, darkness, and philosophical depth. Is there от anything about them that inevitably carries over into a comic role like Basilio, even when the genre is different?
Every role an artist has portrayed on stage leaves its mark and contributes to the accumulation of experience and skills for future roles. The characters mentioned, as well as many others from the dramatic bass repertoire, belong to a dramatic world quite different from that of Don Basilio. But it is precisely the work on such characters that helps the artist seek something beyond the superficial effect. And while Basilio possesses power, it is not manifested through force, but through persuasion, intelligence, and the ability to influence people. This inner psychological depth is what makes the character so fascinating to develop.
“The Barber of Seville” is an opera of light, movement, and grace, but also of precise structure. Where, in your opinion, do freedom of expression and absolute discipline meet in a singer’s voice?
What a wonderful question! In my opinion, this is precisely where the true artistry of interpreting Rossini lies—freedom of expression can exist only on the foundation of absolute discipline in vocal control. At first glance, his musical line sounds light and natural, but in fact it is built on exceptional precision—in the rhythm, the coloratura, the breathing, and, last but not least, in the relationship to the text. When the singer has fully mastered this structure, then true freedom comes—the ability to breathe life into the music in a natural and convincing way.
