Simone Kermes Biography

The person of Simon Kermes: it is important to beautifully and properly live every moment of his life by the German opera primadonna Simon Kermes is rightfully called “frantic queen baroque”, “baroque star”, and recently “Lady Gaga Gaga”. It is never bored with her. She is able to wash the boundaries of genres and equally universal styles of music in her “high -profile” projects.

Simone always manages to find in them the "golden mean" Kermes is frank on stage and in life and does not want to have any compromises. In the luxurious New Year program “Baroque Night” on the stage of the Moscow Concert Hall “Zaryadye”, the German singer, accompanied by musicians of the Pratum Integrum orchestra, performed baroque opera arias and modern compositions.

Va Simone, this year you managed to visit our country several times. SK yes, now I arrived at the invitation of the Directorate of the Zaryadye Hall. And in the summer of last year I had a concert at the Palaces of St. Petersburg festival in the throne room of the Catherine Palace in Pushkin. Together with the orchestra of the Quantum Satis baroque chapel, we performed a program compiled from the works of Bach, Handel, Pirusella and Vivaldi.

This team is played by musicians of the Pratum Integrum baroque orchestra. No, I have been performing with them for the fourth time. One of our first joint concerts took place in the Moscow House of Music. And we implemented the next projects in St. Petersburg. True, then the orchestra played in a slightly different composition. What do you feel about Russian culture? SK is a great culture.

When I was in St. Petersburg, I noticed a lot of young people at the concert, mostly they were people from 20 to 45 years old. In Germany, a predominantly elderly public was used to going to concerts. And youth, unfortunately, is not so good with classical music. What Russian mentality is consonant with your soul? SK yes. Each time, coming to Russia, I plunge into this unique atmosphere.

Most often I was in the Russian capital. Here the audience is very demanding, but it charges me as much as possible. For a long time you had a creative tandem with Theodor Custezis. Do you often remember him? SK I met his Musicaeterna orchestra here in Moscow. Musicians live in the same hotel as I am. We are well familiar. Seeing me, they asked what I was doing tomorrow.

I told them that I also have a concert at Zaryadye. And I have not seen Theodore for a long time. Sometimes we contact the phone, but have not talked for a long time ... Theodore Krentzis will make his debut with the Presetgebau orchestra, how do you feel creative freedom on stage and in life? SK sometimes I feel that there is no freedom in me. And here music comes to the rescue. On the stage, it is much more difficult to feel liberated.

I always fought to gain creative freedom and was never silent when it was necessary to defend my rights. For three years I collaborated with the opera troupe of one festival. I had an engagement, and then I became a freelancer. There is also a share of risk in this, but I cannot limit myself to inner freedom. Why are you so rarely singing the opera now? SK I think that the opera will die sooner or later.

Watching modern productions, it becomes difficult for me in my soul. For me, the opera is, first of all, a fairy tale in which there must certainly be beautiful costumes, light, decorations. And behind all this is definitely the original story. For example, the action of the opera of Mozart “all do this” should not occur in the sauna. The experience of my speeches as an opera singer did not always pass successfully.

Often because of this I even became ill. The opera today needs experienced directors with good imagination and imagination. Without a cultural background, it is impossible to make a staging at a decent level. Wa if you recall the years of youth that you have gone valuable for yourself from classes and communication with Dietrich Fischer-Diskau and Elizabeth Schwarzkopf, your musical mentors and mentors?

SK Elizabeth Schwarzkopf I am not used to recall often. Once I was at her master class in Berlin and did not experience any pleasant feelings from communication with this singer. I was shocked by how she spoke and behaved with students. I studied with Frau Schwarzkopf in Leipzig. She was a little jealous of me when I sang Fjorliji in the "All" Mozart. Once she told me: “Simone, this role is too complicated for you.

Then I did not attach importance to her words - and did the right thing! After some time, I sang in Copenhagen Yunia in Lucius Sulla Mozart, then suddenly fell ill. After recovery, the doctor who treated me visited one of my premiere performances and said: “I heard you sang colorators and high notes. I don’t understand why you sing such a repertoire?! I only once saw the same ligaments - one Swedish singer, the dramatic soprano Birgit Nilsson.

” I did not expect such a recognition from him. Dietrich Fisher-Diskau was a very pleasant person. Once, through a friend with whom we studied, I sent him a cassette with a recording of the vocal duets of Schuman and Mendelsson.Two months later, a bell rang in my house. I asked who was asking me. Then I objected: “It cannot be, you must be joking! Subsequently, I often began to visit him at home, engage in vocals and work with this amazing person.

He especially explained anything about vocal technology - he was always interested in these issues with his wife, singer Julia Varadi. However, his advice on the interpretation of works helped a lot. He had a huge repertoire. Fisher-Discau was a brilliant expert on vocal music and recorded a myriad of works of different eras and styles. He always seemed to me an artist of the 19th century.

I especially felt it when I got to his house. There was some other reality. SK now everyone is creating their own groups. At some point, I realized that I needed an orchestra from friends and like-minded people. First of all, human qualities are important to me and only then a music relationship. Even inside the orchestra, we still have to remain sensitive and responsive people.

If one person does not fit and does not combine with others, then the team will not be able to work harmoniously.

Together we are one family. I completely trust each of the musicians. What your team is developing now? Each of the chosen arias or songs sings virtue or sin. I spent a lot of time in Warsaw in the pandemic, recorded a new program with my ensemble compiled from the works of Bernstein, Handel, Vivaldi and the modern Polish composer Zbignev Pricener. We performed music from films, including the works of Annio Morricone in a new arrangement, the stunning composition of the Pricener from the film of the Polish director Krzysztof Keslevsky “Double Life of Veronica”.

The second song from the "Paradise" on the "Divine Comedy" Dante sounds there. In the same album there are many interesting opera arias of Mozart, Vivaldi, Orf, and the pianist and composer Yarckko Rihimyaki made several arrangements of modern songs for me, as in the previous release. But now a problem has arisen with the release of this CD. To sign a contract, I am waiting for my next project with a recording company.

Do you try to support and inspire young singers in the opera? SK I really like to give master classes and participate in educational academies. Last fall, one of these master classes in the German Gurlitsa spent. Unfortunately, many Russian vocalists could not come there due to difficulties with visas. I am extremely sorry that it happened. We had many youth, including the Russian singer from Novosibirsk Soprano Nadezhda Nesterova.

I really liked her, we conducted a master class with her. There was another young singer from St. Petersburg, Mezzo-Soprano Sofya Romanova, she also has a wonderful voice.