We sat down for a quick chat with Lotte, ahead of the upcoming concert at Kings Place on January 17th, Aurora Orchestra: Memory.
How do you approach creating programmes that span everything from early music to experimental contemporary repertoire?
If the programme has some kind of connecting or overarching concept or theme to it, I generally do a lot of hunting and gathering within my own musical memories, both as a singer and as a listener, to find works that reflect the theme in the most unique and powerful way. Often in finding my favourite musical responses to an idea, the resulting collection does then come from a wide range of classical and non-classical music. Perhaps this is somewhat by chance, but I am always fascinated by how differently composers or songwriters can respond to an idea or a feeling or a concept. Perhaps I’m trying to hold a spotlight up to the concept or theme from many different angles so it illuminates a different side of it with each musical approach.
Generally, I do try to release myself from any kind of programming structure in a traditional sense, where curation is concerned – more and more I am allowing myself to be influenced by music from many centuries, but also several different styles, incorporating varied classical, but also non-classical music. I think this stems from a genuine and deep obsession with a broad range of music and a desire to reflect that in my programming. Perhaps, selfishly, I just want to sing a bit of everything, and in curating these sorts of programs it allows me to occupy lots of different spaces vocally. That excites me hugely. I don’t know a single musician who loves or listens to only one era or style of music, I certainly don’t, so I also want to create programmes that speak to a wide range of listeners and music lovers.
What draws you to premiere so many new works, and how does working closely with living composers shape your vocal practice?
I am definitely an interpreter rather than a composer, and working closely with composers allows me to develop a real creativity with what I do as a singer and a performer. I’m always so thrilled to work with composers who would like to write specifically for my voice, and together, we’re able to find a sort of mutual language. that process is always so exciting. it’s especially wonderful to develop ongoing relationships with composers, because you start to understand each other’s artistic intentions and voices very quickly, and you’re able to bring qualities out of each other that you might not have imagined. I’ve had composers draw sounds out of me that I didn’t know I was capable of, and perhaps in turn I have added a note to a chord here or there, or helped shape a section of a work.
In terms of my vocal practice, working within new music and working with composers allows me to remain consistently curious and open as a singer. I feel like I wear lots of different hats, stylistically, depending on what music I am singing – be it opera, art song, jazz, pop, cabaret, narration, experimental singing, etc — but when working with a composer, all of those “hats” come into play and are up for grabs. I never know what the Composer might want to bring out in me, And I want to bring their imagination to life as closely as I can. It keeps me vocally fit, brave, agile, and artistically curious and excited to explore what the human voice is capable of.
How do you maintain a sense of artistic identity while moving fluidly between opera, chamber music, new music, and non-classical collaborations?
That’s a great question… one could argue that in trying to be a jack of all trades it is then impossible to become a master of one, as the saying goes. Personally I don’t really have a desire to become a master of one, as it were. I like to think that my artistic identity is intrinsically connected to my varied musical interests. At the end of the day, I’m just far too interested in too many different kinds of music to limit myself to only one area – life is too short to not sing everything you want to sing! I am also consistently inspired by the many wonderful musicians and singers who have come before us who pioneered a more multi-stylistic singing career, as well as many incredible friends and colleagues around me now, who are leading fulfilling careers in a variety of music. I think as long as you are staying true to your artistic intention and taste, and putting projects and works on stage that speak to you deeply, you will always be in line with your artistic identity, no matter how varied the material.
Which artistic themes or curiosities are currently driving your creative choices and the projects you’re most excited about?
The concept of memory and nostalgia is one that is being occupying me quite a lot lately. Last year I released an album on Delphian Records with guitarist Dimitris Soukaras entitled ‘everything you’ve ever lived’, which deals with childhood memory, musical memory, nostalgia, and the sense of being between waking and sleep. It was quite special and moving to connect with the earliest parts of our musical lives and to really try and unpack our respective identities through music.
I’m particularly excited about a new collaboration with Aurora Orchestra and my father, the Composer and conductor Brett Dean, which also deals with the idea of memory in various forms — memorials of people, Of events, Collective memory, the transient nature of it. Like the album mentioned above, this program is also hugely wide reaching in terms of style and era. with both of these projects I am wanting to allow the listener/audience an opportunity to delve into their own memory, or to find a sort of “in-between space” in their own minds. In my experience, nothing is able to access that state or space like music can, and by offering a broad colour palette sonically, we might be able to unlock some hidden doors and windows that we didn’t know we there.
One area music that ties into this idea, and which I am also very passionate about, is folk song. I think folk music carries with it an immense power — these songs come preloaded with generations of memories, and I am fascinated by that tradition. Not to mention that they are often very, very beautiful and simple tunes, often with deceptively simple yet powerful lyrics. The anonymity of folk song is also attractive to me – it’s like music that is created and owned by everyone and is continuously reinvented by whoever is arranging or performing it. I’m very excited to be releasing an album later this year with Joseph Havlat, which is made up entirely of various arrangements of international folk song — some some arrangements have existed for a long time, much of it arranged in the 20th century, but some of it also newly arranged, especially for us. There is another folk song recording project due later this year with the Irish pianist and composer Sean Morgan-Rooney, in which he has reinvented for piano and voice beautiful selection of Irish Sean-nós (old style) folk songs. Both of these upcoming folk-inspired albums are also on Delphian records.
How did your father’s early interest in electronic sound influence the artistic direction of your own project, VOICE ELECTRIC?
Brett’s first foray into composing was actually as a member of an experimental electronic duo which he founded with his friend Simon Hunt. They called themselves ‘Frame Cut Frame’ and I remember, even as a young child, the sounds of Dad and Simon composing together and creating these experimental electronic tracks. They were really cool, I was definitely a fan. (By the way you can still find their records on Band Camp, on the Sub Rosa label!)
I grew up in Berlin in the 1990s, a decade where the city was celebrating constantly after the Wall came down, and the sound of electronic music and techno filled the streets. I think that had a huge impression on me, And I’ve been really interested in electronic music and dance music ever since then. At home I was introduced to a lot of classical music and was lucky to be taken to many concerts by my father’s other “band”, the Berliner Philharmoniker, but at home I was also introduced to trip hop and shoegaze bands like Portishead, Massive Attack and Cocteau Twins. When I was developing a solo voice program, it was clear to me from the start that I wanted to pay tribute to my lifelong fascination with electronic music, and I’m very grateful to Brett for introducing me to so many different sound worlds from such a young age.
How does performing your father’s music under his baton shape your interpretive approach compared with other contemporary works you sing?
Well, to be very honest I have performed a lot of Brett’s music, but he has never actually conducted me in anything of his… to my memory anyway. It’s always been with other conductors, or chamber works that have been unconducted. We have performed his music together, though, which is incredibly fun and rewarding. In particular, there’s a viola and voice duo entitled “I starred last night, I shone” set to a hilarious and brilliant poem by Les Murray which we perform as part of our duo recitals now and it’s always a total thrill. We just are on the same wavelength and even move in the same way together on stage, which I find funny.
Brett will be conducting me with the Aurora Orchestra on Saturday though both of the short works by Brett on this program don’t feature singer. The point of this program was more for us to find music that spoke to us both that we loved rather than putting a spotlight on Brett‘s music — this time he’s the more the conductor and co-curator, than composer. He has several hats too!
I could say that there are no differences between singing Brett’s music and music by other composers, but that would not be entirely true. I think Brett understands more than anyone what I am capable of vocally and dramatically, and he really pushes me to those limits. Perhaps that sounds cruel, but I want to be pushed — and the music that we have created together is among some of the most thrilling music I’ve ever sung. Perhaps it’s because we are related by blood that he is aware of my potential in a way that maybe I’m not even aware of. I genuinely do feel so grateful to be creating works together with him. I don’t think there is a Composer alive quite like him — his capacity for texture, drama, pacing and intense emotion is one of a kind and I am so lucky to know him, let alone be his daughter.