I received several encouraging reports on Carreras' 'recent' Loris in Tokyo in October 1998. Fedora was performed four times there with Carreras, Freni and the Bologna Opera (The 'other José C' was on this tour as well with Cavalleria Rusticana.)

According to several people who saw Fedora, Carreras' performance was so overwhelming that several cracked high notes and other technical problems were felt marginal. He was really into the character and made it alive. 'Amor ti Vieta' received a long standing ovation with many 'Bravo!'s, and his performance in Act III moved many people to tears. Really, I wished I had not been an ocean away.

One interesting point, mentioned by two, was Carreras' impact on other singers, in this case Freni. In Act I (before Loris appears), Freni appeared and sounded as if she were "doing her regular routines - quite businesslike and passionless." Then in Act II, the moment she got Carreras on stage, she literally "sparked up," they said. Through the interactions, Fedora "received a new life" and sounded and acted better and better towards the end. The same was true with Carreras. Once his voice warmed up, he sounded better and better toward the end. One wrote, "It seemed as if there was a positive energy growing and circulating between the two." And sometimes their interaction gave the audience the "excitement of a martial art bout." Wow! And, of course, the short phrase at the very end, "I forgive" had never been so convincing and sad, they said.

After the performance, all my witnesses concluded that José Carreras is still a great opera singer, that opera is where he belongs, and that he should do more. I agree and look forward to his return to more operas in the future.

When Carreras was in Japan to perform Fedora, he was interviewed by a noted Japanese writer (and avid opera fan), Mariko Hayashi. The interview appeared in the November 13 issue of the Shukan Asahi Weekly in Japanese. The following is an unofficial and partial translation - the interviewer's questions are abbreviated to save space. I made it solely to share with other admirers of José Carreras. No copyright infringement is intended.

On Artist-audience communication...

Communication between the artist and his audience works like a chemical bond. When bonded well, it develops into something very special. The wonderful thing about my life is being in a position to make that happen.

On the Japanese audience...

It seems to me that the Japanese audience mirrors the Japanese mentality. They are very sensitive. They call whatever is excellent -- from acrobatic techniques to music and voice -- excellent. In addition, they seek out something deeper and try to understand it. That, I think, is the trait of the Japanese audience.

On the Three Tenors...

Is that so? If so, that makes me happy [laughs]. The three of us are very different from one another, and that's probably why we are successful as Three Tenors. We are different as men; we have different throats; we have different styles of expression. Whenever three of us get together, a mysterious chemical bond is made, and something very wonderful is communicated to the audience.

On Barcelona and Catalonia...

It is going to be a long story. Do you mind? Catalonia is not equal to Spain. Catalans have their own tradition, culture language and a special way of thinking. It is our pride as Catalans to keep our cultural identity. It's not a matter of right or wrong, but Spain and Catalonia are different.

Italy, on the other hand, has something in common across the nation, from north to south, despite some differences - people are cheerful, open and direct. Southern Spain is closer to Italy, and in that sense, the two are like cousins, although not so close as brothers. When it comes to Catalonia, it's a completely different story. Geographically, it is closer to France, and the culture came directly from the Mediterranean Sea.

You [referring to the interviewer] mentioned "Barcelona's darkness." I would call it "cautiousness" rather than "darkness". We are a people who stop twice to think everything over. Whatever may happen, we will not take a quick, snappy action. We are cautious.

Catalans are interested in progress as well as preservation of our tradition and mentality. Antonio Gaudi, for instance, was not only a gifted artist but a man of pioneering skills to create something new. Dali, Miro and Tapies, who've been receiving much attention recently, have also done something very pioneering although they are deeply rooted in tradition.

On Romantic Heroes...

In an opera, Italian or French, the tenor role is often depicted as a romantic hero and good guy. I don't think the opera heroes are illustrated as untypical Italian or Spanish men . . . Southern European men are often said to be womanizers, but I don't think that's true. They are instead sensitive romantics. In the modern society, the word "romantic" can be associated with weakness. That is probably why men don't usually want to show their romantic side.

On opera and the times...

I don't think the opera should change with the times. We (singers) are merely there to express what the composer and the librettist originally intended. How the composer wants us to express is all written in his music score. I think it's important to keep expressing something unchangeable, something we must not change, despite the changes in the times and society.

On Scarpia and Cavaradossi...

I agree that Scarpia is a more interesting character than Cavaradossi. Cavaradossi, however, is the romantic hero that I've just talked about. Scarpia is a man with a psychological depth that would require Freud to analyze, while Cavaradossi is a cheerful, open character. Unless the singer is outstanding in both singing and emotional expression, Cavaradossi wouldn't match Scarpia. If I had a voice that would allow me to sing both characters, I would choose Scarpia. Scarpia is more challenging, and would give me greater satisfaction after singing.

On Recital...

Recitals allow me to build a closer relationship with the audience. In every song I sing at a recital, I can play a different role. I enjoy that job very much, but my roots as an artist are, of course, in the opera. I want to continue opera performances in Europe, the U.S. and Japan.

On Japan as a tourist...

There are some restaurants I like. I like Japanese food very much because of the wide variety and high quality, and the service is also good. It's a different story when I'm on business, though. I cannot be a tenor and tourist at once. As a tenor, I seldom go out. I have to discipline myself. This is a must.

On air-conditioning...

As a singer, I'm sensitive to air-conditioners. In Japan, the room temperature is often too high or too low, so I always have to watch out. Wherever I am, in a restaurant, in a hotel, in a car, I must obsessively think of this always, all the time [laughs]. My trip to Japan means a battle against the air-conditioner.