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Appearances Over Time
Podcast Appearances
And what about Italian, the operatic language of love?
But does the understanding of the respective languages affect the way that you feel about the music, too?
Do you have an affinity with one nation's music over another?
As you mentioned, you enrolled at the Royal Academy of Music in 1969 and it was there that you met Graham Johnson, who became your accompanist over many decades.
Well, it was with Graham that you set up the Songmakers Almanac, wasn't it?
Which was a project which sort of showcased so much of these songs and particularly the German leader.
Alongside your international opera career, you became so renowned for these solo recitals and particularly for the interpretations of German Lieder with the accompaniment of piano alone.
Does that feel more exposing than being on stage as part of a grand opera?
I mean, at the height of your career, were you still aware that you had a sort of a lack of self-confidence?
Or was it just something that was pointed out to you that you were unusually self-deprecating?
I mean, you've always been very un-diva-like, haven't you?
But that's what I mean, the worthy opportunities there to have taken on the mantle of the diva, because people are treating you in a different way.
You're flying around the world to opera houses and concert halls the whole time.
Did it feel like you were living the high life at the time?