6 questions with Sarah Connolly
Ahead of our concert Mahler: The Song of the Earth, we spoke to mezzo-soprano Sarah Connolly about her relationship to Mahler’s music.
You have an extensive Mahler repertoire, as a performer, how do you prepare to face the challenges presented by his music?
I spend most of my time thinking about a fresh approach or one inspired by life events, or reading. Das Lied von der Erde is in itself a life-changing event, and in the weeks and days leading up to a performance, it is like a presence, growing deeper.
I feel there’s a sense of rootlessness in this music, a yearning and unbearable sadness. Countering that, there is also a sense of discovery and wonder at being a part of this beautiful earth.
You have performed and recorded with the Philharmonia many times in the past, what are you looking forward to?
The Philharmonia has worked with the greatest conductors and that legacy gives great meaning to the players. They are rightly proud to be in this orchestra and I sense that confidence and sensitivity in their playing.
Can you talk a bit about the importance of text and music in this piece?
A piece like Das Lied can withstand any slings and arrows of criticism, and emerge indifferent.
I’ve heard some Chinese musicians sneer at the “western composer tries Chinese pentatonic style” in an attempt to belittle Mahler’s musical references which thread through all the songs. Mahler would have been mortified because the last thing he wanted was inauthentic cheap musical memes.
He borrowed musical rolls of Chinese orchestras and carefully studied the sounds and sequences. And, of course, there’s the extraordinary mix of Mahler’s own words with poems by Wang Wei and others.
I feel there’s a sense of rootlessness in this music, a yearning and unbearable sadness. Countering that, there is also a sense of discovery and wonder at being a part of this beautiful earth.
There’s a wonderful lineage of British and Irish mezzos, from Janet Baker to Kathleen Ferrier and Ann Murray. How does their legacy inspire you or inform your singing?
I’m honoured to be included in this lineage. I’m always astounded when anyone mentions my name alongside theirs. These marvellous ladies were and are deep thinkers. Their contribution matters profoundly, so I share that with them at least!
You have performed this piece with Andreas Schager before – what’s going through your mind during the songs that he sings?
I have performed with Andreas in other works – Gurrelieder, Der Ring and of course this. Not only does he sing with immense beauty and phrasing but the power behind it all appears to cost him very little!
He never looks taxed and that’s very unusual for a Heldentenor. His voice carries easily over the loudest drama in the orchestra and he is a wonderful actor and interpreter. He’s also a lovely guy and supportive colleague.
For those who enjoy tonight’s performance, what other concerts from this season would you recommend?
The Philharmonia have an amazingly diverse season. Wow!
I’d have liked to listen to Pierre-Laurent Aimard playing French music with Thomas Søndergård conducting. I’d be interested to hear Sir Andras Schiff’s Mozart and Isobel Waller- Bridge’s Temperatures as part of Four Seasons, and Four Seascapes.
On 11 November at 7.30pm, the Philharmonia performs a programme of Beethoven’s Violin Concerto with Alina Ibragimova and Mahler’s Das Lied von der Erde with Sarah Connolly and Andreas Schager.