SOctober 10th will be a “very special” moment in Milan, at Quartet Society. And if he says so Barbara Hannigan you have to believe her: the only soprano in the world who sings while conducting the orchestra (and in any case only two others ever do so, the contralto Nathalie Stutzmann and the tenor José Cura), she definitely knows about special moments… «It’s my last performance with him Emerson: a few days later they will hold their farewell concerts in New York and then they will disband, after 47 years” she says, at ease on the podium as on the stage, in the guise of Alban Berg’s Lulu as in those of Mozart’s Donna Anna and of Debussy’s Mélisande.
Laughter and hard work
Barbara Hannigan (Marco Borggreve).
A long and glorious history, that of the Emerson String Quartet, in which Hannigan also took part: «Our first concerts were in 2015, and I think I can say that we felt very “at home” in the way we wanted to make music. Lots of laughter, combined with lots of hard work! It was a great honor.” The happy collaboration is “eternalized” with a newly released album: Infinite Voyagewhich combines the Quartet n. 2 by Arnold Schönberg to creations by Paul Hindemith, Alban Berg and others Perpetual chanson by Ernest Chausson.
“Different hats”
After the Milanese stage, the artist will begin to reconcile his “two souls” again. «I have just started my season conducting two programs I created for the London Symphony Orchestra. And autumn will be busy from conductor in Paris, Gothenburg, Copenhagen and the United States, as well as some special events – as a singer – in Italy, France, Holland and New York, to celebrate the 70th birthday of jazz musician and composer John Zorn. So… I will definitely be wearing different hats!”
But what pushed her to get on the podium in 2011? «Conducting began as an exploration and for me it still is, more than 10 years after my debut at the Théâtre du Châtelet in Paris. It’s a way to deepen my relationship with music and also to be of service to music and audiences in a different way than just singing. I find that continuous investment in both skills is very rewarding.”
Unmistakable gestures
Barbara Hannigan singing and leading the orchestra (photo Marco Borggreve).
How did you achieve the unmistakable way of directing (graceful but decisive gestures, without baton, “speaking” with the whole body)? «Thanks, of course, to some wonderful mentors, and by mentors I don’t just mean conductors… I have been fortunate to find luminous guides since my childhood, who taught me to celebrate my passion and joy for music and to channel the energy in tireless work and discipline. I draw inspiration from all forms of creative expression as well as non-musical sources. Probably the most important suggestions come to me from the natural world: I grew up far from city life, and the landscape and the sea are a source of inspiration for me.”
What do you call “home” today? «I’m originally from a village called Waverley, Nova Scotia, but I left when I was 17 and now I’m 52: I can’t say it feels like home. I spent twenty years in Holland which was very formative and since 2015 I have been living in France, where I was welcomed by the musical community… Well, “home” is very much my home in Finistère, in Brittany, and even just 48 hours there are enough to recharge. But, living in music, I am happy everywhere in my environment, be it Paris or Reykjavik, New York or Milan.”
Pioneer by passion
It is considered one trailblazer, a pioneer. What was the driving force? «I would say: passion and curiosity». And the most difficult challenges? «Finding the time and energy to prepare really well: a challenge for every musician (to get an idea of the intensity of the preparation, just see C’est presque au bout du mondethe short film shot by his partner, Mathieu Amalric, ed). We have a high standard that is usually set from childhood (most classical musicians begin their studies before they turn 10) and we need to strike a balance between rest, effort and maintaining the joy of making music.”
Meditation & nature
Barbara Hannigan with Laurent Naouri, Stephane Degout and Sylvie Brunet-Grupposo in “Pelleas et Melisande” (Getty Images).
And how do you work on this balance? About staying grounded? «I have practiced meditation, I try to stay fit and healthy. I moved to the countryside, the green natural context contributed to the rest I need. And I also have three cats…”.
“Equilibrium”, not surprisingly, is also called the tutoring initiative he launched for young musicians (but with professional experience behind them), offering workshops and performance opportunities. «In 2017 I felt I had reached a point where I could make a difference. I had both the network of orchestras and colleagues, the experience of 25 years in the music industry, and the financial means to get the thing started! So… it was the right time!”.
“Long live the children”
By hanging out with the new generations, do you see anything new in the world of music regarding female empowerment? «I have certainly learned a lot from them in the last few years and I hope, in fact, to have some insights regarding them. I see many inspiring young women in all fields: they are getting opportunities that perhaps were not available in the past… I especially love when there are children at my concerts, because if a child sees a conductor he thinks it is normal. I hardly saw any women on the podium until I was old enough.”
Future challenges
Barbara Hannigan (photo Cyrus Allyar).
Will there be any new challenges in the future? «Certain! This season alone I have four or five world premieres, and there are always new offerings coming in or ideas in my heart begging to be explored.”
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