What opera o cessate di piagarmi
She spent six months at Sadolin’s institute in Copenhagen.
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Photograph: Sarah Wijzenbeekīut with no courses specialising in new music and no obvious path to follow, Fischer was demoralised until she came across the vocal course run by Cathrine Sadolin, a specialist in how the voice works across a huge range of different styles, and how to use it healthily, whether you’re belting out rock anthems or Bulgarian folk harmonies.
‘I try not to make any distinction between any of the music I do. That’s the whole reason he started his orchestra,” says Fischer. “He is also someone who doesn’t listen to the way it ‘should’ be. Her father is iconoclastic conductor Iván Fischer. It’s our way or the highway, said the school, so they parted company. “I was listening to a lot of other styles of music, and what I enjoyed most was the singers who dared to be very raw, like Björk or Thom Yorke, incredible musicians and singers who are not afraid – if the emotion asks them to – to sound really rough and even ugly.”Ĭhafing at the conservatoire’s restrictions, she wanted to explore more creative approaches to performing classical music. I meanwhile was developing an interest in all the other things my voice could do – I felt that I had such a rich instrument and I was only being taught to sing with 15% of it,” she says. “Classical singing is very beautiful but very specific. A career as Susannas, Adinas and Rodelindas seemed assured. Now 32, the Dutch/Hungarian Fischer spent her teenage years a member of the prestigious Netherlands Youth Choir, and then moved to study singing at Amsterdam Conservatoire. “Everything you can do” casts a wide net for this versatile and genre-hopping singer. I like singers who dare to be very raw, like Björk or Thom Yorke, who are not afraid to sound rough and even ugly. “I thought, well that’s a very nice compliment but that will never happen,” she says, “and then suddenly here we are! He said: ‘I want everything you can do to be in it!’” This was at the Dutch National Opera – very posh and formal and everyone was like, ‘Woah, what’s going on? You don’t do that in the opera house!’ But Andriessen loved it.” The composer, whose 80th birthday is celebrated at this year’s Proms, told the young singer he was going to write her a piece. I’ll scream it.” And so at the first rehearsal I did. “I had a very high note marked to be sung ‘screaming’. “We met when I had a tiny role in his 2016 opera Theatre of the World,” she tells me. The soprano comes to the Proms on Sunday for the UK premiere of the Dutch composer Louis Andriessen’s The Only One, a song cycle he wrote especially for her. H ow do you catch the ear of one of today’s leading composers? With your exquisite vibrato? With a three-octave range? In Nora Fischer’s case, you scream.