I seek a balance between historicism and spontaneity. I always approach a new work with great respect and desire to learn. I listen to music by the composer, I read about him and I engross myself in the period and the context of the work. Then, when it comes to singing, I forget about the treatises and even about my voice so as to sing from the heart and try to connect with the “soul” of the music, something not found in any musical treatise. I seek a new spirit in each work.

What repertoire are you most comfortable with?

Spanish, Italian and German baroque, especially religious music and in particular Johann Sebastian Bach.

Do you sing the music of Spain differently from that of the rest of Europe?

Yes, of course. I think the difference lies in the music itself. It is reflected in the composition, both vocally and instrumentally. The difference stems from language itself since each language has it own cadence, its internal articulation. I am very grateful for the five years I have spent in Basle because they have brought me closer to music in German. At the same time, instrumentation is crucial in deciding what kind of vocal approach to give to a work. European styles are all very different, so you have to adapt your voice and characteristics to the different musical styles.

Do you consider yourself a singer of baroque music?

Although I have recorded much baroque music, not long ago I began to broaden my horizons. I try to remain flexible and avoid typecasting by drawing on other repertoires. In Basle I have given premieres of contemporary works; I’ve sung music by Berio, Alban Berg and Kurtág, for instance. And not just contemporary music. Rene Jacobs has hired me to record Le nozze de Figaro by Mozart. I am still working with Jacobs, with whom I will have the honor of singing an unpublished opera by Cavalli. It was not even sung during the composer’s life. It’s called Elio Gabalo and all I know is the main parts go to three sopranos. It will be produced in Brussels and Vienna.

Speaking of Cavalli, how do you like the opera of Venice?

I feel very close to it, much more than German baroque.

Why?

I think we Latins can perform and get involved in the repertoire because we have it in our blood.

The guitarista José Miguel Moreno argues that the Latin character makes for more intense communication with the audience. Do you agree?

To a certain extent. But I refer especially to language, which is the other major issue. Now that I have lived in Basle for five years, I am much closer to the music of Bach and Schütz. But adapting to the German language has taken me a long time.