In addition to concert works for voice, oratorios and sacred music in general are part of your staple repertoire. Do you think that this is a means to an especially transcendental dimension? Thomas Quasthoff: The oratorio holds an important role in my repertoire because I don’t perform operas. I grew up with this music. When I reflect upon my most recent production of the St. Matthew Passion in Salzburg with the Berlin Philharmonic, Sir Simon Rattle and Peter Sellars’ staging, then yes, you can definitely say that this piece leads to a transcendental dimension. Bach’s music has a certain greatness to it that sets it apart from any other musical form.
Mendelssohn-Bartholdy grappled with various religious themes and attempted to find answers, in a contemporary context, through his music. Are these issues still relevant today? Thomas Quasthoff: When you consider globalisation – and one speaks increasingly of a callous, frigid society – then the themes with which Mendelssohn-Bartholdy was occupied are more relevant than ever. The most important ones in our lives continue to be love, doubt, fear of failure, and faith.
Despite his strong-willed, combatant nature, Elijah is also familiar with the notions of doubt (above all, in himself) and despondency. Doesn’t this make him something of an operatic figure? Thomas Quasthoff: Elijah is one of the most operatic oratorios that exist. Because the story of Elijah is biblical, it fits into the context of an oratorio. But I think that the theme would lend itself to an opera as well.
What makes the role of Elijah a standard of measure for baritones? Thomas Quasthoff: Because a baritone, when placed in this role, is given the opportunity to demonstrate the variety of colours and emotions available to the voice.
When one becomes so involved in these matters, is there a danger of slipping into pathos? And how does one confront it? Thomas Quasthoff: A fine singer should also have good taste. The decision to either face – or suppress – this pathos depends not only on the singer, but also on the conductor. And an important personal ground rule applies, of course: the work is essential, not the artist.
»Beautiful singing is not enough« – what are your expectations for yourself and your students? Thomas Quasthoff: The singer must always see himself as subordinate to the work: there must be a symbiosis between text and music, and I expect a fine singer to handle colour with perceptiveness and careful thought. Because the voice is truly the most colourful instrument there is.
