"Groissböck and Holl claim: 'Operas are richly depicted through visuals' "
In an intimate chat, the esteemed vocalists Robert Holl and Günther Groissböck are getting together for a groundbreaking showcase. On Sunday, they'll both perform and converse about the profound camaraderie between Franz Schubert and Johann Mayrhofer, a poet who, according to Holl, "is seriously underrated."
The gathering takes place in the Viennese apartment of Ildikó Raimondi, Intendant of Atzenbrugg. The two artists discussed a wide range of topics such as Bayreuth, YouTube, VR glasses in opera, Wotan cancellations, Christoph Schlingensief, and their early beginnings.
So, how did your artistic collaboration begin?
Robert Holl: Günther was a part of my lied class, and the first thing he ever sang was Gurnemanz. (a challenging Wagner role, note)
Günther Groissböck: Needless to say, that took daily practice. (laughs)
Holl: I told him, "You're 25 and you can sing it, but what will you sing when you're 40?"
Groissböck: I remember that. It was probably 1998, I passed by the Walter-Berry room where I heard you teaching a student. I thought to myself, "I know that voice, but it can't be Robert Holl." Then I heard the rumor of your professorship. It was like Christmas and Easter all rolled into one for me. I wanted to be there as soon as possible. That was at the University of Music and Performing Arts in Vienna, back then.
Holl: For me, it remains a university because it's all about a profession, and university has a certain air of pretentiousness.
Groissböck: Especially since singing is more of a craft at the beginning.
What did it mean to you that he wanted to work on Gurnemanz so early?
Holl: As soon as I saw him, I knew: This is a natural-born Wagner singer. But he could also sing beautiful lieder. We worked on Schubert with Mayrhofer texts back then.
Groissböck: My first encounter with Robert Holl was in 1997, at the Brahms Hall in the Musikverein, where he sang a lot of Mayrhofer. This poet didn't mean much to me before. I immediately bought a CD of yours, featuring David Lutz on piano. Some tracks, like "Memnon" or "Comfort," left a deep impression on me. They had this chesty yet soft sound that really pulled me in. Above all, I could sense that you truly understood the music and poetry from a deeper level.
Holl: Johann Mayrhofer was a great poet, one of the most important from Austria, whose literature has been largely overlooked.
A Modern Approach: The Schubert-Mayrhofer YouTube Series
Groissböck: Our YouTube series about Schubert was intended as a kind of legacy to share some insights about poetry and music. Since poetry is as important to me as music, the Schubert song is an incredible intensification of both. The series aims to shed light on the backdrops of the texts, as there's a lot of time critique in there, and that was during the time of Metternich. Our goal for the Atzenbrugg concert is to shed light on Mayrhofer, using both music and spoken parts. Mayrhofer encoded his political message in nature descriptions or Greek mythology to evade recognition.
Robert Holl, the Lieder VirtuosoDutch bass Robert Holl, born in 1947, is one of the great song interpreters and concert singers. He has played major Wagner roles in Bayreuth, Vienna, Berlin, and other prestigious venues, including Hans Sachs, King Marke, and Gurnemanz. Apart from his opera career, he has also organized Schubertiads, supported the renovation of the Schubert Schloss Atzenbrugg, and composed songs and piano pieces. He is also a collector of original sources on Franz Schubert.
Günther Groissböck, Wagner's Next GenerationBorn in Waidhofen an der Ybbs in 1976, his vocal potential was discovered during a party performance in 1996. He went on to study with Robert Holl and has since sung the major bass roles at renowned opera houses like La Scala Milan, the Vienna State Opera, Zurich, Covent Garden, Amsterdam, and Berlin. He made his Salzburg Festival debut in 2002 and made a mark with his 2014 role debut as Ochs in "Der Rosenkavalier" in the Harry Kupfer production.
The Future of Classical Music: Will It Last?
Holl: The audience for lieder is elitist, and the demand for it does not exist. It's based on goodwill rather than wealth.
Groissböck: Lieder recitals should gain more substance. Organizers are often concerned that an audience won't be attracted without a big name. But when you truly offer profound content, people will notice it. It's not just about a beautiful voice or a pleasant musical experience. It can even be spiritual in nature, like with Mayrhofer, where the audience can experience the Zeitgeist, journey through various realms. It's like watching a movie but with the opportunity to create your own images. In opera, we are usually overwhelmed with images from the beginning.
Robert Holl: A Beacon in the Digital Age
All the more lovely is Robert Holl's presence on YouTube in today's digital realm.
Holl: I wanted to do something people wouldn't expect, like writing a book, but there are so many unread books.
Atzenbrugg: A Special Place for Schubert
Groissböck: We need to keep emphasizing the significance of places like Atzenbrugg, as that's where these great works were born. I also think of Bruckner. When you stand where he created his music, it has a powerful effect.
What are your current projects apart from YouTube videos?
Holl: I don't do much these days. I enjoy working with young people. That's what I consider the purpose of my current life.
How important are lieder recitals in your concert schedule for you?
Groissböck: I wouldn't earn as much in the opera in the same amount of time, but I don't solely focus on money. I need to feel something spiritually when I sing. Operatic roles like King Henry are nice, but they're quite rigid, lacking a great dramatic soul. The "Sachs" role is a unique blend of song and opera at their highest level.
This year, Herr Groissböck, you have the role of King Marke in "Tristan" at Bayreuth. What are your thoughts on the new Bayreuth season?
Groissböck: I see this season as relatively calm compared to Bayreuth's usual intensity. I'm only playing King Marke this year. I think roles often seem easier than they actually are. Nevertheless, much depends on the director and other factors, such as costumes, which can shape a production's outcome.
Holl: Absolutely, the director, costumes, an orchestra's performance, and countless other factors contribute to shaping the final outcome.
Virtual Reality in Opera: A Brave New Experiment
Groissböck: I haven't ventured into that yet. I prefer to spend time in nature whenever there's a free day. I believe it's an intriguing attempt to integrate modern technology into the opera. However, I'm unsure if Bayreuth is the ideal place for it. The festival retains a magical energy that doesn't need artificial enhancement. But the world is changing, and we're entering new realms of technology that we haven't even begun to comprehend. Our actions often revolve around convenience, even when it comes to voluntarily giving away personal data.
- Robert Holl and Günther Groissböck's artistic collaboration began when Günther was a student in Holl's lied class, and he took up the challenging Wagner role of Gurnemanz under Holl's guidance.
- Robert Holl and Günther Groissböck's shared interest in the work of Johann Mayrhofer led them to work on Schubert with Mayrhofer texts during their early days of collaboration.
