NO QUESTIONS about her age, no questions about her retirement plans and the questions for the phone interview must be in early, otherwise “the interview cannot go ahead”.
When the rules of engagement are so clearly spelt out, it’s only natural to feel a tinge of nervousness.
Sure, this is not my first brush with a diva. I’ve had my share of vain stars, snappy stars, entirely forgettable stars and some entirely unforgettable ones.
The most recent interview that comes to mind is one with India’s Queen of Sauciness - Shobhaa De. Despite her crazy schedule promoting her new book Superstar India, designing her collection of cocktail saris, writing her television scripts, her newspaper and magazine columns, De returned my calls.
Nothing is too trivial for her. Even when I ask her personal questions, she gives me the information I need, with a gentle request: “If it’s not relevant to the story, could you ask your editors to leave it out.” When I ask her about the Jackie Collins of the East tag, I know she’s hearing the question for the millionth time. Instead of dismissing me, she gives me a quotable quote.
Perhaps that’s why I find the first five minutes of my phone conversation with the critically-acclaimed lyric soprano Dame Kiri Te Kanawa, extremely trying.
Despite steering clear of all the questions I shouldn’t be asking, I can’t resist asking where she is speaking from, only to be chided: “As a journalist you shouldn’t be asking me such questions. You know in my profession we have stalkers.”
There is a part of me that wants to give up at this point, but there is a job to be done and I persist.
The diva softens a little as the interview progresses. “I am speaking to you from England,” she tells me.
I can sense the frostiness being overtaken by her warmth. She strikes the winning note by reflecting on her long and distinguished career: “I have had to work extremely hard. When you look at opera singing, you have to be prepared for a long and demanding career. We never get to take a day off. When we are not performing, we are learning.”
What bowls me over is the commitment she has shown in setting up and leading the Kiri Te Kanawa Foundation. She left the opera stage in 2002 but continues to perform concerts and recitals to raise funds for the Foundation which aims to provide support and financial aid to promising singers and musicians from New Zealand.
Speaking of the motivation behind it, she pointed out: “When I was growing up, I didn’t have anything like this. I certainly couldn’t earn a living by singing in New Zealand. I started the Foundation to nurture the next generation of singers, musicians and conductors from New Zealand.”
It is a cause she is truly passionate about. “I am always singing for my charity. I am always raising funds. I go to garden parties, I do special concerts, anything that can help raise funds. Beyond this, it isn’t about just finding the talent, it is about nurturing them.”
Spoken like a diva with a heart.