“I Love Doing New Things”

Your first notable teacher was the Hungarian Vera Rózsa. How do you remember her?

I studied with her for ten years and she contributed hugely to what I am today. She told me very clearly what repertoire to sing, how to look after myself; it was never enough to just produce a beautiful voice, we had to say something personal about each work; she was a powerful personality, at times she could be quite frightening but she could also be very warm-hearted.

Is your versatility a natural trait or were you taught it? Or is it perhaps a Scandinavian thing?

Oh, it is my personality – I'm a restless, impatient type, I love constantly doing very diff erent and new things and I get bored quite easily; I like to say that I am a short-distance runner! I am very curious but I'm not an intellectual, researcher type, I am just always attracted to a variety of music. I am interested in the capabilities of my voice but I don't examine it with my brain. I am always looking for new encouragement and inspiration.  

Anne Sofie von Otter (Photo: Ewa Marie Rundquist)

What would you say were the two extremes of your profile as a singer?

At one end certainly is Wagner; I have sung Brangane and Waltraute. I never imagined that I would be able to sing them because I don't have a big enough voice but I learned to project the voice I have. I do it primarily with the help of the words, with the fl avour of the German language – because people see that I understand what I am singing, I know what a character wants to say. The other extreme certainly is pop music which comes in many forms. When singing this, I don't really project my voice and there is no vibrato, but you can hear that I am not a pop singer.

You voice is very recognisable. But are you the same person when singing with Elvis Costello or Brad Mehldau as you are when you are playing Sesto, Ottavian or Brangane?

 I think I am utterly the same person. It is true that I feel most at home in Baroque music, because I started with Baroque in a choir which had a very good leader, and to this day I draw on this person's advice. When I sing pop music, if I love what I'm doing, then I do it well. In truth, jazz is not my world but I am capable of doing a classical version of jazz singing. The timing, the freedom, the fl exibility is not the same as that possessed by those who have been singing jazz from their earliest years because I come from a classical background where you have to sing precisely what is written down. In this repertoire, I am basically imitating, but there is nothing wrong with imitation.

What are the vocal differences when you sing such different music?

You have to make Wagner carry, and sing strongly. Bach has to be sung more softly with little vibrato. Obviously you have to use everything that you know about breathing because it is the foundation for the singer's performance. When you are younger, you are more instinctive, but with age you become more analytical and conscious. Of course you need an appropriate partner. Rock music is not for me, but then neither is Italian bel canto – and there are plenty of people who do these genres well, who are born to them. 

What advice do you have for singers who either do, or would like to sing such a diversity of music?

Wanting is not enough; you have to have the ability. Pay attention and listen to the greats of each genre. Enjoy yourself and be self-critical. There are many singers who can never liberate themselves from their classical training or habits and when that happens, it will sound very bad. My advantage is that I have a good ear and I like to analyse what I do. Additionally, I know very clearly what I want. A creative musical brain is a tremendous gift and I am very grateful for it. 

Pick a conductor and please describe how they work. Oh they are so diff erent! For example, Abbado almost never spoke in rehearsals and what he did say was not particularly interesting. His rehearsals were not inspirational but at the concert, he was simply magical: very intense but also very calm. And then there was Solti, who put all his energy into rehearsals; you had to go to his hotel for a rehearsal, he gave you lunch, then we rehearsed and rehearsed and rehearsed; he would grab your arm and explain things, he was so consumed with music. This didn't always work in the music's favour but generally it was fantastic.

Judit Rácz