Page 127 - Winterreise Coverage Book, 2021 - 22

What do you want to bring to the interpretation of the Winterreise?

After working on this cycle for about 15 years, I am increasingly fascinated by the bravery of this
Wanderer. While the other people around him are sleeping, missing out on life, not asking themselves
awkward questions or taking the time to think, this young man felt he had to leave a rather
comfortable place to go on a trip – a particularly icy and cold inner journey of feelings and emotions.
He faces the darkest corners of his personality. That's why I wanted to create a natural way to
present this character as a human being, as someone who thinks, dreams and is sincere. Someone
who could be you or me.

The interpretation of the Winterreise is marked by so many legendary recordings. Are any
of them role models for you?

There are a few recordings that I love! At the top of my list are Dietrich Fischer-Dieskau's meeting
with Alfred Brendel or Brigitte Fassbaender's meeting with Aribert Reimann, to name but two. But I
must say that I had never listened to the whole cycle before I first learned it. I had the chance to
work with it with Fischer-Dieskau after singing it a few times, which was of course amazing. But I also
think that the world around us has changed a lot, the speed of our environment has changed, society
and human connections have changed through social media and technology, the things that concern
us have changed. These are all things that also influence our inner world, our emotions, and the way
we interpret something. I think we should be encouraged to take all of this into our music and not
always look back.

This cycle of lieder for baritone and piano obviously requires a great understanding
between the partners. How did you develop your vision of the score with pianist James
Baillieu?

Working with James Baillieu is just wonderful. He is not only a fantastic pianist and lieder
accompanist, but also the kindest and most supportive human being and friend there is. When
journalists ask me what I think is the most important thing a lied accompanist should offer, I always
answer that it is a bond of trust with the singer. It's important to rehearse together and talk about
music, but it's just as important to spend time together and talk about all sorts of things, share
meals, walk around, and go to the museum. We singers are very vulnerable in lied recitals without
any boundaries between the audience and us. Only the pianist can free our backs and give us the
wings to fly. This can only be done through deep trust and understanding. James is a master in the
field and working on the repertoire with him is like playing ping-pong. We don't talk much during
rehearsals – we just make music. It suggests something different at some point and I try to react and
vice versa.

Do you plan to record other Schubert cycles?