Status: 12.10.2023, 16:40 PM
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"We want to develop a new, special sound": Johanna Soller (34) is the first female director of the Munich Bach Choir, which was founded in 1954. © Simon Pauly
The Munich Bach Choir is experiencing a turning point. At the beginning of this season, for the first time, a woman took over the direction of the ensemble founded by Karl Richter. And there is also one who comes from the field of early music and stands for historically informed music-making: Johanna Soller, a busy and multi-award-winning conductor, organist and harpsichordist.
How did you come to the attention of the choir, which was looking for a new director after Hansjörg Albrecht's departure?
From 2014 to 2020 I was an assistant and répétiteur with the Bach Choir, I took on rehearsals for concerts in Israel, Italy or at the Verbier Festival, for example, and also played with the Bach Orchestra as a harpsichordist in continuo. My contract will initially run for three years.
Why are you starting your first season with Carl Orff's "Carmina burana"?
That wasn't my decision. The planning for this concert had already been completed. But I chose the first half of the concert with Brahms' "Song of Destiny" and Mendelssohn's "Hebrides Overture".
As head of the Bach Orchestra at the same time, you are planning a far-reaching stylistic transformation: it will become an ensemble that plays on original instruments and is committed to historical performance practice.
The Munich Bach Orchestra is not a permanent ensemble, but draws on a pool of different musicians for the respective projects. As usual, it will continue to be made up of members of the great Munich ensembles, but now also of dedicated baroque specialists, with whom we will interpret the great works of our namesake. Of course, there are also other baroque compositions or works by Mozart.
Does this mean a narrowing of the repertoire?
By no means. I'm not ruling anything out when it comes to repertoire. Since its founding, the Bach Choir has always performed works from the Classical and Romantic periods to modern times. The size of the choir with 60 to 80 active singers is decisive for the ensemble. Wonderful for Reger motets, for example! The orchestra must always be flexible and sound different from Haydn's from Reger's.
They want to focus on a cappella work with the choir.
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Fancy a voyage of discovery?
My Area
Yes, this cultivation of unaccompanied singing is also important for such a large ensemble as the Bach Choir. However, he should be as flexible as possible not only in terms of repertoire, but also in terms of instrumentation. The work, location and cast must be coherent. From 2024 we are planning a new series in St. Markus.
With what and why there, of all places?
This church space is perfect for a cappella music. Organ pieces, instrumental chamber music works and readings will round off the programme, which can be dedicated to either a composer or a theme. And it's a "back to the roots." Karl Richter was organist at St. Mark's and has already organized such concerts there.
Speaking of Karl Richter, he founded the choir and orchestra in 1954. With Harnoncourt and all his colleagues from the early music scene, a completely different world opened up many years ago, in which you grew up. Do you still have something in common with Richter?
As the founder of the ensemble, he achieved incredible things with the then youthful Bach Choir and its orchestra. Richter's unconditional dedication and his search for depth already impress me. But when it comes to interpretation and sound design, I naturally have completely different ideas and goals.
What role models do you have then?
I revere my Munich teacher, the harpsichordist Christine Schornsheim, and the baroque cellist Kristin von der Goltz as musicians as well as strong personalities. And I admire the conductor Philippe Herreweghe, with whom I once sat in. I am very impressed by how he has shaped his Collegium Vocale over decades.
What does it look like for you as a freelancer with your "side hustles"? Are you going to keep them?
Yes, I will continue to play the organ in St. Peter's, implement projects with my Capella Sollertia and also continue to work with the singing students of my oratorio class as part of my teaching assignment at the Munich University of Music.
What about opera? You've already had your first successes in this area.
Of course, I would also conduct one or two projects in this area in the future. Most recently, I was engaged with the Freiburg Baroque Orchestra in Handel's "Saul" at the Theater an der Wien as director of studies. Such projects are, of course, extremely tempting...
Are there already plans to collaborate with other ensembles?
No, but I have to pass at the first Munich St. Matthew Passion of my term of office, on Good Friday 2024. Before Easter, I will be leading the tour of the Nederlandse Bachvereniging with Bach's St. Matthew Passion – that was already planned before I was engaged by the Bach Choir. That's why Yuval Weinberg, head of the SWR Vocal Ensemble Stuttgart, will take over the direction in Munich, which makes me very happy. In principle, I always consider a different handwriting, a different perspective by a guest conductor to be fruitful for everyone involved.
But now it's first and foremost about shaping the Bach Choir and Orchestra through your work.
I'm really looking forward to the rehearsals and growing together! I know the potential of the choir and am full of energy to work together on exciting interpretations and a completely new, special sound.
The interview was conducted by Gabriele Luster.
Concert on 22 October, 15.30 p.m., at the Isarphilharmonie; Telephone 089/93 60 93.