Our two Handelian beauties talk about their latest collaboration

Handel Duets blog interview with Sarah Connolly and Rosemary Joshua

 1) You are both established Handelians. Have you performed together before?

RJ  Sarah and i have worked together a few times.We did Semele years ago at ENO-actually Harry Bicket conducted that.......I remember a music call with Sarah where we had to sing through the duet between Semele and Inno, there is a beautiful aria before, But hark the heavenly sphere turns 'round..I will never forget hearing Sarah sing that and welling up... it was so beautiful! We recently did the opening Edinburgh festival with Judas Maccabeus......great fun.  (There are a couple of lovely duets in that for Israelite man and woman.)  The concert came after our recording sessions and it was interesting to feel how quickly we were able to marry our voices together again! Sarah had just come straight from Wagner at Glyndebourne.  I've actually known Sarah since student days at the Royal college-so we go back a long way!!!

2) What draws you to Handel in particular?

SC It is hard to say in words what pulls me to Handel. I simply adore his self-possessed, beautiful melodies and where they come in the drama is very important. He was a master-dramatist. There seems to be such a wealth of musical ideas in each opera, despite him recycling arias from time to time (and other people’s..) one never tires of singing them.

RJ I love the directness of Handel.  The character and emotion of each piece is always so clear.  I also feel very uplifted by his music,  it makes me want to dance, cry... if ever I'm feeling low in energy I put on Dopo Notte.  It  does the trick every time!! From an artistic point of view I've been lucky to have the chance to perform so many great roles and feel Handel is a very healthy composer for the voice. I wonder if after over 20 years i'd have survived without him as the main staple of my vocal diet?

3) How did you go about choosing the repertoire for this duets album?

SC Harry, Rosy and I selected our favourites and Harry pulled the programme together.

4)  Is there one particular track that you are especially proud to have recorded on this album?

RJ  I enjoyed recording all the tracks.  They're all winners really. I do remember finding Welcome as the dawn of day a challenge and both Sarah and i dissolving into fits of giggles, the tears streaming down as we were recording! Mainly because i couldn't get the key changes! I am really happy with the Theodora duets........I find those two very moving and would love to do the whole oratorio with Sarah...

SC Both the Theodora arias, especially Streams of Pleasure. I think both of us caught the spirit of the music in an unself-conscious way.

5) Why do you think Handel remains so popular today?

SC When we listen to Handel’s music, the characteristics we know and love; wit, surprise, gravity, simplicity, sophistication, we recognize ourselves, our weaknesses and joys and feel validated, uplifted in some way. 

RJ  Handel is so fresh... there's a simplicity about this music that makes it so easy to listen to yet it touches the soul so deeply......genious!  Timeless.

6) And finally, you are both regular performers on stage, as well are recording artists. How is preparing for an album different from preparing for a live performance, if it is?

RJ  Of course the basic preparation for a recording and live performance is the same, learning the notes, working together, finding tempi etc but the stress levels are different.  Live performances are one offs, never to be repeated or captured the same way again, ever.   Recording is like listening with a magnifying glass...EVERYTHING has to be in place.  Warts and all, it’s there for posterity.  So we have to balance our aspirations for perfection with keeping it alive and real.  We can't use our facial expressions or costumes to communicate with the listener-its just the voice-our imaginations have to be on overdrive and the concentration is immense.  Once the red light goes on we have to create everything: set, costume, production and all the magic of a performance.  A recording situation pulls everyone together.  There's always a feeling of intimacy between the players and singers.  We share the love and commitment to the music for those minutes with 100 % of our beings; that’s what I find very rewarding.   The pacing of recording has to be carefully done.  In a live performance our energy levels are 'on' immediately we step onto the stage, whereas in a recording studio we tend to warm up and find the performance gradually-it’s more intimate in approach.

SC  There is no need to memorize the music and the focus is on the sound and the meaning rather than the physicalisation for the purposes of staging. There is no ‘presentation’. Obviously, having sung the music on stage already feeds the imagination but largely, the music provides the inspiration. I have to say, Rosy inspired me to sing my best and Harry Bicket and the musicians of the ECO were incredibly wonderful