Michael Kristensen

Tenor

Born in Ørnhøj, Denmark. He made his debut at the Royal Danish Theatre in 1994 as Spoletta in Puccini’s Tosca.

He graduated from the Opera Academy in 1995.

Your most important opera role?

The role and opera that have meant the most to me throughout my career is David McVicar’s production of Mozart’s La clemenza di Tito. In addition to the wonderful music and McVicar’s brilliant direction, it was the first time I worked with a director who taught me to trust my own intuition and the importance of fully understanding a libretto when approaching a new role.

It was a very educational process, and for the first time I felt that it didn’t matter how I looked or moved on stage. With his determination and uncompromising direction, many things fell into place for me—things I still apply when I take on new roles.

I experienced something similar working with Graham Vick on Mahagonny, where I sang the role of Jimmy. It is a huge and very challenging role, both dramatically and musically. Vick repeatedly told me, “trust your intuition,” and emphasized the importance of taking the lead when you are at the forefront on stage.

What makes the Royal Danish Opera unique?

Overall, it is the dedication and commitment of the people working here toward the house and the art form. But I also love the traditions of the house and the things we, as artists, pass on to one another from generation to generation.

Every time I enter my dressing room, my old wooden make-up box greets me. It was a gift from my late mentor, the baritone Leif Roar. He took me under his wing as a young singer at the Royal Danish Theatre, and when he retired, he passed the box on to me. He had inherited it from the actor Poul Reichhardt, who received it from the ballerina Lili Heglund, who in turn got it from the principal dancer Ulla Poulsen. One day, when I retire, I will pass it on to a colleague. These small things are what bind the entire house together—and we must not forget that.

Your favourite opera?

It’s difficult to choose, and I am inclined to say that the opera I am working on at any given time is my favourite. But if I must choose one, it would be Wagner’s Ring Cycle (Der Ring des Nibelungen) or Tristan und Isolde.

Who is the best singer?

The Swedish singer Helen Sjöholm. She is not an opera singer, but the way she can shape a text with such simple means is exemplary.