A singer with a thousand faces
Interview |
When Kate Lindsey sang Nerone in L'incoronazione di Poppea: how it took our breath away! How fascinated we were when she sang the title character in the world premiere of Orlando. What a secret she carried within her when she was Debussy's Mélisande. And what a true-to-life character she was on stage when she sang Mozart's Despina. Behind the eleven letters of her name lies an almost endless number of stage personalities, changeable, always new, surprising, gripping. And whenever she takes on a new role, you always wonder with anticipation: How will she play it this time? This question now arises again. Because the mezzo-soprano is singing Idamante in Mozart's Idomeneo for the first time in the Haus am Ring. In other words, the king's son who is almost sacrificed by his father for the good of the state.
Your work is characterized in particular by an enormous breadth of repertoire: Early Baroque, 21st century, Mozart, Gounod, Debussy, Strauss and much more. What are the advantages of such a wide selection? Wouldn't it be easier to concentrate on just one manageable area?
Kate Lindsey: It would certainly be easier to specialize in a narrow area or just one era. But I'm not interested in simplicity. It is extremely important for my voice, my development and my body to deal with a wide variety of styles and to constantly take on new challenges. Not only because it broadens my horizons, but above all because the different works influence each other. Every role I sing helps me to see and understand all the other parts in a new way. When I return to Mozart after other projects, I realize that something has changed, I have gained new insights and a different awareness has emerged. The last time I sang Idamante was three years ago - and when I studied the role again, it felt different and new in a wonderful way.
The opera is based on a Greek myth from the Trojan War. These very old legends and stories continue to occupy us to this day; they are constantly being revisited and examined, analyzed, reworked and cast in new forms. What is the power of these almost three and a half thousand year old tales?
First of all, I have to admit that these Greek myths always cause me difficulties; a lot of things can seem very confusing at first. But every time I return to one of these ancient operas, I am amazed at how central the theme of "human relationships" is and how complex and intense the discussion is. Corresponding problem areas still have an impact today. In our case, for example, the relationship between father and son. Questions of alienation, isolation, misunderstandings and secrets, the unspoken. Even if that was a long time ago: Some of it seems ultra-modern in a way. So I think that what fascinates me about these myths is the way people treat each other. Even if the world around us changes, the essence of the relationship patterns remains the same for thousands of years.
The core theme in Idomeneo deals with the king's conflict of conscience: should he sacrifice his son for the good of the state? How topical is this problem here, in Vienna, in Central Europe? In recent decades, we have been lucky enough not to have to ask ourselves such questions.
I think the issue is more topical than many of us might think. Of course, most people don't live in a world where this question arises in exactly the same way. But nevertheless, people are often forced to do terrible things to protect their children or to give them a better life. So you can certainly look at this from a broader perspective. And even if it's not a matter of life and death, many of us are familiar with situations in which we have to choose between family and career, for example. For example, when you travel a lot - as in the singing profession - and therefore have to sacrifice time with your family for your vocation. As I said, I'm also always interested in the relationship structures between the people involved: there are things that remain unsaid, that are unclear, that parents don't tell their children. Which leads to them feeling very alone in the world. Accordingly: There is a lot that resonates in Idomeneo - although mostly not to the drastic extent that you experience in the opera.
Kasper Holten, the director of the Idomeneo production, said that Idamante and Ilia, the next generation, will perhaps have a better approach to many issues. Is this a utopian wishful thinking that we keep harboring, or is this hope justified?
Absolutely, there is hope! You can see that with Idamante, how he tries to find a better way right from the start - for Ilia and her people. It may not be easy. But if you dream of a better future for future societies, then it lies in the small steps that this generation can take. That is what we can hope for. Idamante and Ilia are among those who are trying to take a step forward.
The great Greek plays often deal with fate and how you relate to it. Is this an idea that plays a role in your life? In Greek tragedy in particular, people are often restricted in their decisions, have to follow a path, are subject to fate or higher powers.
That is a really difficult question. Personally, I don't believe that we are unconditionally subject to fate. We have control over our decisions, our reactions, our lives - and what we do with them. I feel supported by a deeper trust in the universe. And I don't feel anything passive, but rather the opposite: we are called upon to make mindful decisions and to be considerate of the people around us in our actions.
You sing Idamante, a man, a trouser role. It's clear that this has an effect on your acting. But does it also play a role in your singing? Does a composer in Ariadne auf Naxos, a Cherubino, a Nerone in L'incoronazione di Poppea have to be sung differently?
The differences are not between "male" and "female", but between the composers and styles. Nerone and Idamante differ vocally, but only because of the way the music is written. So the trouser role doesn't mean that I have to sing differently, it's really about the physicality on stage. The costume is very important here, as it helps me enormously to feel my way into a character. Most of it actually comes from the shoes, a lot depends on how I feel in them. That's really important! (laughs)
"The differences are not between 'male' and 'female', but between the composers and styles. Nerone and Idamante differ vocally, but only because of the way the music is written."
Mozart was 25 years old when he wrote Idomeneo. Do you sense a youthfulness in his music compared to his other masterpieces such as Don Giovanni? Something that is "different" from later works?
The opera feels self-confident and also a little experimental, sometimes harmoniously original. It carries the beauty of youthful hope for the future, almost an anticipation. I sometimes wonder whether Mozart identified with Idamante as a young man? The way you feel him in Cherubino in Le nozze di Figaro..
After the poet Rainer Maria Rilke completed his novel The Notes of Malte Laurids Brigge, he had to take an unusually long break - he couldn't even write letters, he felt so empty and artistically exhausted. Is that something you recognize? An emptiness after an artistic work?
Yes, I sometimes have moments like that. Especially when I've been rehearsing and performing for months, of course. Sometimes I look at the calendar and have to reprimand myself: It needs some time off! Interestingly, it's not about not singing - I never feel like I need a break from singing. It's more that I just want to come home and sing just for myself. It's such a joy and so good for creativity: being at home, just singing. And of course I need times to just stop and reflect. You have to allow that ... And: I love reading. When I get home, one of the first things I do is go to the library and borrow books. I spend most of the year reading on my Kindle, so it's even more of a pleasure to pick out a real book and feel the paper.
So, which book are you reading at the moment?
The Neapolitan Saga by Elena Ferrante - I've read the first three volumes in the last few weeks, now I'm looking forward to the fourth part. I've got a project going - the New York Times has published a list of the 100 best books of the 21st century and I've started reading my way through it. Let's see how far I get!