The new cultural year is still young. Astrid Stockmans' agenda is already quite full. It promises to be a generous year. A heartening experience after the entire cultural life was paralyzed by corona for a few years. Her career has already taken her around the world. With her classical vocal training, this lady does not let herself be pigeonholed. She loves artistic encounters across disciplines. Like a chameleon, she dives from one character to another. In addition to the classical repertoire, she also enjoys the lighter repertoire and other ventures. Think of her noted participation in 'De Slimste Mens' and as the instrumental sidekick of Karl Vannieuwkerke in the well-known cycling talk show 'Vive le vélo'.
Soon she will be on stage with éminence grise, Marco Bakker. They are making a unique collaboration of it with melodic melodies that have somewhat faded into oblivion. They sing solos and duets about longing, excesses and pep up the vibrations. Subtle pearls that in a waterfall of sounds capture the refined atmosphere of that period. We had a pleasant chat with this charming and driven performer.
-A collaboration with Marco Bakker, a name with resonance. How did your paths cross?
Actually, that was arranged through the orchestra of Walter Proost. He organized a competition a few years ago in the spirit of New Tenuto, which I participated in. Since then we have collaborated several times. He actually linked us together and put us on the bill together. I'm not quite sure what to expect from it, but I'm looking forward to it.
-Is a rehearsal period being set aside or are you relying on self-study and your craftsmanship?
It will be a run-through on the day itself. More and more is being done this way. That's the reality. You're counted on for your competencies. This concert was actually already planned in 2020, but was always postponed to another date because of covid. Now it's finally happening. It's really about giving everything right there.
-Marco Bakker has been a welcome performer on stage for decades. The man has now reached a blessed age (born in 1938). Yet still lively and fresh despite his age?!
He is a man with métier. I recently heard him sing in a TV program. He still has a beautiful vocal quality. Singers can generally continue longer than women. I'm always amazed that despite the passing years, the quality of their voice remains almost constant. There's also an enormous technique behind it.
-A charming man, a womanizer, the perfect person to sing the spicy operetta repertoire!
It's always pleasant to look at a handsome man or woman. The repertoire indeed suits his generation. The beautiful timbre and tone of his voice, of course, makes it pleasant to sing duets.
-The heyday of operetta music can be placed between 1850 and 1950.
The golden age is indeed in that period. An older audience will enjoy and savor it. Over the past few years I have also devoted myself somewhat to that segment. Seniors in nursing homes who are no longer very mobile and can no longer participate in cultural activities. As a result, they fall completely out of the boat. That audience encompasses different generations. When you put together a program for them, operetta melodies are bound to be included. For that audience, it's a breeze.
-Operetta has completely gone out of fashion, musical has taken its place.
I wouldn't dare claim that the musical repertoire is so well known to a broad audience. In my generation too, there are quite a few young people who know nothing of blockbusters like 'Les Misérables'. When I sing, for example, the 'Viljalied' from the operetta 'Die lustige Witwe' by Franz Léhar, everyone in the nursing home knows it. During a New Year's concert, waltzes are traditionally played and the operetta repertoire is also eagerly drawn from. The audience enjoys it.
-A program full of operetta pearls, does that pose a challenge for you?
It does indeed. In the sense that I grew up in a family that had nothing to do with culture. I had to learn everything in my training. I do miss the tradition behind it. In that respect, I find it quite challenging. That shortcoming has also made me greedy. I love classical music. Currently, I'm at a crossroads. Other genres are presenting themselves. I haven't done pure classical and opera for a while. Experimental things, cross-overs with other disciplines and genres really appeal to me. Also the confrontation with an audience that is unfamiliar with those things or at least not with a live performance. Operetta also lies a bit in between.
-Help people over a threshold?
Yes, exactly. That's why I enjoy doing it. In the similarities and differences we find each other.
-Operetta is a steamy and emotional soundscape. Who compiled the program?
Conductor Walter Proost. There are a few solo works for Marco and me and of course the beautiful duets. The Léhar repertoire is extensively featured and then a couple of pieces I didn't know as well, such as 'Spiel mir das Lied von Glück und Treu' from 'Die Ungarische Hochzeit' by Nico Dostal. Operetta doesn't really have a large back catalogue.
-Probably quite a few earworms pass by.
Yes, you may never have heard an aria before, but after a couple of times that melody nestles itself in your head and you can't get it out anymore.
-It will be a succession of passionate moments. A musical trip that leads along the heavenly vaults of happiness and euphoria to the dark catacombs of betrayal and heartbreak.
Operetta is well known for its often spicy romance full of sighs and longing. To mention the 'Viljalied' once more. It is a simple story but what it tells is so extraordinary: a man who falls in love with a beautiful forest creature that disappears the moment he wants to kiss her! It gives the song a certain pathos. It is a fairy tale, but you have to be able to bring it convincingly.
-You must convince not only as a singer, but also as an actress.
That's right. You have to find the right tone to touch the heartstrings of the audience. I find it somewhat difficult with the overall expectation of something like this. It has to look like this or be brought in that tradition! If I have to enter a mold that doesn't fit me one hundred percent, I'd rather back out. I like to search for an interpretation that suits my temperament. Then it can be that I exaggerate something or play it down. I have to be able to live through it. Music, however you turn and twist it, is essentially a reflection of life.
-Do you have a particular ritual before you take the stage?
Not really and yet partly so. The time you need to get dressed, do your hair and put on makeup, that's actually my ritual. My way of calming down. The transition from busy everyday life to the intimate stage.
-You told me: these are busy times. Are you active at home and abroad?
Before covid, my work was quite often abroad. There were concrete plans to work in Asia and Greece, but covid thwarted all that. Those performances were postponed a few times, but due to difficult travel conditions they were ultimately canceled. That's a shame. You absolutely lose sight of the long term and start to play it safe because the virus still hasn't been completely overcome. Since covid, I've mainly focused on domestic work. I don't work with a manager and arrange everything myself. That's also because of covid.
-Then you must have a large network?
My network, how should I put it, is becoming increasingly specific. In that sense, I have good connections in experimental music theater such as Transparant, Walpurgis and Lot in Gent, but also Cultural Centers. I got a call yesterday from a programmer at a CC, asking if I could step in for an ensemble that couldn't perform. I've already appeared on stage successfully with them a few times. That way, a bond of trust grows. Sometimes you have to play it close to your chest. What I'm also betting on is the corporate world. What music adds during a lecture provides added value. That message is taken away.
-A quote from Samuel Beckett: "Quand on est dans la merde jusqu'au cou, il ne reste plus qu'à chanter"
Very well noted, because singing is not only fun but also has a therapeutic impact.
-Are there performers who inspire you, who you look up to?
Many, and especially Belgian ones. We have a very talented generation. I often perform with Liesbeth Devos. I follow the still very young Emma Posman. Someone who belongs to the world elite in the opera circuit. Then Tineke Van Ingelgem who stands at the other end of the spectrum, who is very experienced and very solid, and all those who maneuver in between. They are operating on a global scale. I have enormous pleasure in seeing them succeed. We have enormous talent in this country.
-Winning over an audience with your voice, how does that feel?
That is a privilege, I think. I'm also very happy when people leave a concert with a smile on their face.
-Charged up?
A softening occurs. I hope that people can let everything go for a while. It is a gift that I have been given, a present, a conduit. I remain very humble in that and try to do every concert as well as possible with all the flaws and qualities I have.
-Is there a musical work that enjoys your absolute preference?
Ooh, I can't put one name on that. It's very broad for me from Vera Lynn to Gershwin, Beethoven, Louis Neefs… Many stories circulate around certain musical works. With 'Vive le vélo' I had to always bring numbers that matched current events. So I arranged the song 'Yellow' by the British band Coldplay for piano. During the covid period, we could only reach an audience through streaming. At a certain point I was overwhelmed by a panic reaction: "I will never be able to play/sing live for an audience again." Inside, I was in revolt. That's when I decided to always include that number in my programs.
The audience loves it too. Every individual gives it their own interpretation. I've sung it, for example, at the funeral of a little boy. He had a very rare metabolic disease. The parents connected that song to their child. After a concert, many people come up to me with their specific story about that song. That makes it very universal. For me, it's not about the quality of the composition, but that it touches people individually. I've also sung it on Mercy Ships, an initiative that converts ships into modern hospitals and travels to places like Sri Lanka to carry out life-saving operations. That's why I love singing it. It's not about me at all, but about the humanitarian message that the song brings. It's not about technicality and high standards but simply about the experience and emotion. I find that so beautiful about music.
-You are a beautiful, young, emancipated young woman who has been able to develop and realize her talents. In Afghanistan, girls and women are denied every opportunity. What does that do to you?
That troubles me deeply. From my upbringing, I've been given a lot of chances and opportunities. My parents supported me in my dreams and ambitions. For a long time, I thought about pursuing engineering studies. Both my brothers did that. But at the very last minute, I decided to study music because I felt that other choice would gather dust after some time. I often cursed during my music studies because it wasn't always easy. For me, it's extremely important that what you see on the outside also aligns with what's on the inside.
-A harmony of heart, intuition, and reason?
I have a great desire for authenticity. With that, you can manage so much in life. It doesn't bother me when people criticize. As a beginning musician, it's often very difficult. Building a career doesn't all run smoothly. You can't comfortably live off it right away. There are systems that artists run up against: the status, lots of controls, the paternalistic nature… My dad often called me asking, "Are you still happy with your choice?" Wholeheartedly: "YES!" even though things rolled off the rails at certain moments. Now I've reached a point where all the effort and hard work have been worth double and triple.
-What does the near future look like?
In October, the focus is mainly on Stokman and Vos. We've just completed a series with the support of the King Baudouin Foundation. That was fantastic! We initially started that project in 2016 with the intention of performing in nursing homes. In reality, we mainly end up in Cultural Centers for active senior planning or family planning. The intention was and still is to explore the boundary between music and therapeutic effects. There's always someone in the audience who has a beautiful voice and sings along with everything resonating. We then invite that person onto the stage to sing along with us. That gives a huge boost to their self-esteem. You see them grow and shine. It's mutual enjoyment. There's still a lot in the pipeline but I can't say much about that yet.
Until Casino Oostende, Astrid.
WHAT: OPERETTEPARELS
With Astrid Stockman [soprano] and Marco Bakker [baritone], European Philharmonia cond. Walter Proost
WHEN: Sun 4 December 2022 at 15:00
WHERE: Kursaal Oostende