This energy must be focussed in the right direction. A somehow “bittersweet” facial expression for “Können Tränen” or “Blute nur” (St Matthew Passion) might appear to cover a wide range of emotions, but the focus of energy needs to be clear and can change within an aria. A recitative like “Die Welt das Sündenhaus...” (BWV 170) has many different directions of mental energy. The beginning is like an opening statement, describing a terrible situation.“Die Welt, das Sündenhaus, bricht nur in Höllenlieder aus ... Racha, Racha sagen.” I think about this as an appeal to the assembly: “Listen to me! This is important!” and my energy goes out to that crowd. Then the recitative turns from rhetoric to contemplation. The words say “Gerechter Gott, wie weit ist doch der Mensch von Dir entfernet...”. They are no longer directed at the assembly, since I am addressing God himself. I call such moments “switches” and just as there is timing in a drama or comedy that enhances the depth of communication, I have to work with the same tools here. Leaving a longer pause at the point of the “switch” makes the change of direction clearer. (Unfortunately the singer’s perception of what is a “longer pause“ is not always that of the listener, so I am on the safe side if I keep the silence a bit longer than I feel I should). It can help to give a “codeword“ to each coherent section during the preparation. “Appeal”, “regret”, “accusation” and “reflection” are somehow quicker to grasp and translate into singing than their underlying, sometimes complex background.

Connecting all the elements of a state of mind

In the simplest terms one could say that there are three basic steps to the communication of vocal music. 1. Contemplation on the different possibilities for a well-prepared interpretation. 2. Choice of the appropriate vocal tools on a technical and rhetorical level that will communicate this interpretation. 3. Hope that the listener will understand what is meant! If the interpretation of an aria is compared to a projection screen for the audience, mediocre preparation combined with “beautiful singing” leaves plenty of space for the listener to project anything he wants to hear onto the “screen”. A well-prepared and executed interpretation leaves the listener much less opportunity to project his own ideas. As a singer I make a statement about how I think the composer meant this aria or recitative to be received. The listeners can choose to accept or reject my opinion, but most of them will be able to receive something that one could call “conviction”.

My approach on how to sing Bach sounds almost like a method and I would prefer not to use this word. Does the listener in row 7, seat 35 really understand why I make this long pause in bar 9 and continue piano in order to show that I am dwelling on the dramatic illustration that has just happened?