Recital And Contemporary Music
Sometimes, my recitals seem most important of everything in my life as a singer. You cannot live from them, but you definitely cannot live without them.
The intimate contact to the audience, the collaboration with a trusted accompanist, the beautiful melodies and texts, it all suits me ideally.
At my recitals, the German classical and romantic composers form the major part.
As a Danish singer, the music from Scandinavia is of course a very special field.
The works of Benjamin Britten written for his life partner Peter Pears are a great gift for my tenor voice.
As I studied in France, the etheric world of the French Mélodie also opened for me. As a frequent traveller to Spain and Argentina, I have added many of their fiery works to my repertoire list, too.
I have also commissioned new songs from different composers and given them their world premiere.
I have often given recitals in private homes, many of the songs were originally written for these surroundings and they still fit wonderfully there today.
Here parts of my repertoire , I have sung a lot more solo songs, and I enjoy very much the process of designing a program that suits the occasion perfectly.
1988, I sang my first recital as a very young voice student. I had sought out Franz Schubert’s cycle Die schöne Müllerin, The Fair Maid Of The Mill.
It went surprisingly well, even if my accompanist said, ‘In five years, you will be surprised that you ever had the courage to sing it at that tender age. Very true it was, and very good that I didn’t know it on beforehand. On the other hand, my old teacher Ernst Haefliger once said to me, 'I always thought that I had to be 50 to be able to sing the Winterreise... I was stupid!'
2013 the Fair Maid and I can celebrate our stage silver wedding, every time I perform the work I am delightfully surprised to discover new facets of this wonderful work.
The music of Franz Schubert is perhaps where my romantic singing heart feels most at home. His beautiful melodies, his unfiltered immediacy and access to his most delicate feelings always touch me strongly.
Over the years I have added the Winterreise and the Schwanengesang to my recital repertoire as well as numerous of his other songs.
1990, Louise Lerche-Lerchenborg needed an assistant for the organisation and preparation of the 25th season of the music festival Lerchenborg Contemporary Music Days. I was suggested and thus I entered the world of contemporary music.
I was entrusted with a great variety of chores, write concert programs, logistics, turn pages, interpret at conferences, take care of the great composers and accompany them to their rehersals with the musicians. I was assistant for all the coming festivals at the Lerchenborg castle, the last one in 1994. In these wonderful surroundings, the creative souls could unfold freely.
Many of the assistants of the actual festival days were young students of composition, and in this way I was also activated as a singer. These collaborations are some of the most fruitful of my life as a singer, and I am always very excited to dig down into a new piece, talk about it with the composer, sing it to them and eventually present it to an audience.