Any role that Handel wrote for "Senesino" would be wonderful. The tessitura sits well for my voice.
Maybe some atonal "extreme-singing" contemporary opera role.
Concert or recital performances enable me to establish a contact with the audience as Andreas Scholl whereas I have to personify somebody else in an opera-performance. These are two different worlds. I love the intimacy of a song recital accompanied by lute, harpsichord or piano only. This way I can stay with an audience for a while which usually develops a wonderful dynamic in a concert.
The confusion of someone who hasn’t heard the voice before. There is an element of surprise that blocks the listener from categorizing instantly and ideally lets him receive the music itself and not the performer.
I would say that Bach’s vocal works for the alto voice are amongst the most challenging works for a countertenor. The compositions are executed in an instrumental manner and there is no place for technical weakness; Bach makes no compromises in his compositions in order to help the singer. On top of that the music has a tremendous depth and sometimes seems to a singer like a steep rockface for the freeclimber. So the reward of mastering this challenge is a wonderful "vision".
I met the Israeli singer-songwriter Idan Raichel this summer in Tel-Aviv. I am a huge fan and it would be a dream to work with him.
Any project that breaks with the established standard of music-presentation. It would need to be a project without "dark suit"; it would not take place in a concert hall, explore new spaces for music and combine singing with dance.
That they are open minded about baroque music and haven’t yet adopted the "Baroque-Style-police" attitude which enslaves the performer as well as the audience to the myth of "authenticity." Human feelings and enthusiasm, love and passion for the music we are singing are "authentic." Instruments, choice of strings on a violin, temperaments and so on are empty formulas and not "authentic" in themselves.
Filmmaking. I produced a documentary film about my singing teacher Richard Levitt. (He grew up in Los Angeles.) It was a wonderful experience to make a film, and I am already thinking about a new idea.
I want to develop not only as a singer, but as a musical and creative personality. So in the future I want to combine different art-forms with baroque music and the countertenor voice in at least one project a year. I have already realized some of these ideas and there are many more to come.
Theater of Voices
Royal Opera House
Massenet Don Quichotte
Mariinsky Opera Orch
Berlin RIAS Chamber Chorus