Conducting, that is for Countertenor Mehta and his teachers have been not a departure into the Unknown, but return. A meeting in Munich.
Berlin/ München – singer, the feel of the conductors of the professions, this can’t end particularly well, as it has in the last summer, with Plácido Domingo on the podium of the Bayreuth festival “die Walküre” can be experienced. In the case of his teachers have been Mehta, one of the most famous counter of our time, tenors, it’s different. For the 50-year-old American who lives in Berlin and New York in the grip of the baton is something of a return.
you once said that you have to start again with the Conducting, when the time is right for it. When did this happen and why?
Mehta That was about three years ago. Until then, I had gathered enough musical experience on many levels. At the University, with the Cello, I also played in large orchestras. Even then, I started conducting as well, until I dedicated myself one hundred percent of the vocals. After about fifteen years of singing career, the first offers for most courses arrived, eventually, I received again an offer for the Conducting. I wanted the active. But when this request came, I knew It is the right time.
directed by leading singers it’s always you understand exactly what the colleagues need on stage. What can you do as a concert singer better than other conductors?
Mehta so Far, I have not had a Chance to conduct other singers. As a singer I often find how much better everything runs when the conductor understands a little of Breathe, and really breathe. This also has a huge effect on the sound. Also, I don’t know that singers need only support and freedom. Especially in Baroque music, you need to a pretty strict structure, then they can bring in their phrasing and ornamentation, the better.
The Baroque has become one of the standard repertoire. Would you have easier it is as a singer today to start a career?
Mehta What relates to the subject of the counter-tenor: Yes, because there are a lot of role models. But otherwise: no. The industry is in trouble. The financial conditions are different. There are, and were always a Star-layer. The decisive factor is the levels are. And for these colleagues, it does not look good. Also, a singer’s careers getting shorter and shorter. The market demands are constantly after the New, Unusual, young, Still-never-seen Before. In my 20-year career, I have experienced an enormous number of singers who were only there for a second and immediately were washed away. The no longer even goes so far that younger singers can expect a long career and then align.
have you ever Had the thought: In ten years, I’m going to do something completely different?
Mehta : The right stuff by itself. Singing the greatest gift is in the music at all. Who has got it, should it be of any use, as long as it goes. One day I’ll realize that I can no longer deal with the voice the way I imagined it. Then, click, I’ll do something else.
Purely rationally, you can make the. But then, if the Situation is as…
Mehta : we’ll Talk in ten years about it. (Laughs.)Maybe I’m naive. But I think that I can do this. I’ve had as a singer with a great career boy. As the voice came, I turned to other things, just the Cello. So, I’m already small career death died. Also, I see myself less as a singer, rather as a musician in General. I have not started Conducting again, to the next small Karrieretod balance. This gives me the opportunity to delve deeper into the music. Besides, I’m too much of a perfectionist. I don’t want to allow me to go on stage with insufficient vocal requirements. I also have no interest in taking over in such a Phase is smaller, lighter games.
this Is just a Déjà-vu for you? In the beginning you were as a Countertenor a Rarity, now they are as
– directing the singers.
Mehta : A bit. My career as a singer has insanely begun quickly, also thanks to a series of great coincidences. Now I’m acting but in a different way. I’m going to make the mistakes that happened to me as a singer.
would be?
Mehta : As an example, always reminds me of: I got in the very beginning of my Counter-career an offer from the New York Met for Britten’s “a Midsummer night’s dream”. All in my environment, said: “madness, crazy, you need to do!” I didn’t know the game, I was new in the Business and knew deep in my heart: “Let.” I did it anyway, because I trusted the agent. So, I was a Cover for David Daniels and had two performances at the end of the series – without a trial. And suddenly I was in the crowd in front of the first appearance, right in front of my nose the door. And as they came up, there was the Met in its full size. I was shocked: for the first Time with the orchestra, for the first Time on stage ever! And Role Debut! Under the conditions I made it, I think, quite well. But there is no star was to be an hour. The people, but under the right conditions. And then I had to delete for years, this impression at the Met quasi, what I managed in the end. I should have taken this commitment never. And I knew that something like this will never happen to you again.
A large Problem is: you have now no more time for the Director.
Mehta Director, it could happen to me. But I don’t actually feel called, even if the step itself would be so big. I can take the guidance of People for me, if the Director is unclear. And for very good Directors, it irritates me to implement their ideas. But overall, I see myself as a soloist, as one who moves actively in the music and not from the outside, something brings to the stage. I’m a Performer.
The interview Markus Thiel.
