Yes, dear readers: we have our own Pope. We – that is, the classical singers. But the Feuilleton, the musicology, the record industry, some occupation, office, various competitions and symposiums, now even music blogs, culture, and politics. And, of course, the art of singing Lovers. Originally, perhaps ironically, has changed the Epithet “the voice of the Pope” to be earned, almost unconditional reverence in front of one of the most important connoisseurs of the voice and vocals: Jürgen Kesting.
infallibility will not take Jürgen Kesting for claim, just look at the heavily revised new edition of his published in four volumes, the growing “Bible”, the comprehensive encyclopedia “The great singers”, where he revised some of the earlier judgment or weighted differently. Jürgen Kestings word also resounds from the city of Hamburg in the German-speaking world, and the sworn circle singing crazy Melomanen far. Back can cause this to be universal, to many thousands of pages of tightly-held Knowledge, as well as the never-ending passion with which he devotes himself to this day in ever new variations and shapes the vocals. And the most amazing thing: how he continually manages to not voting for the actually Descriptive sound and to find musical Interpretation – new, clear formulations.
On the paper as in the personal encounter fear you as an artist a little before Kestings by high Growth and the cultured conduct of the underlined self-conscious authority. With whipped ready-to-Humor, and inexhaustible wealth of original anecdotes, he turns out to be immediately as witty and enthusiastic conversation partner with whom you like to and from a singer well on Absolution is to be hoped, if she touches her small tribute for once in words instead of sounds.
With the criticism, it is not easy: We all suffer the Dilemma is that it drives us literally on the stage, while always self-doubt plagues. The art is to be thin-skinned. Mother soul alone on the stage, it is important to bare his innermost being, by risking the Extreme. As one knows, can’t drown out thousands of Bravi a single Boo, and even the most experienced artists in a sense of crisis plunge. It is the same with the criticism. A wrong word may hurt the Deepest, or just if it is unfunded, ignorance begets, or of malignancy.
Jürgen Kestings Dogma is the subjective objectivity of his texts. This he achieved, first, by means of a rare differentiated virtuoso mastery of the language. A fitting name, missing him, however, he invents a phrase that you ask yourself whether you would not find in any of the rare dictionary, or he borrows it from a foreign language. Thus we read of a lens coming, an exact representation of what he has heard. In the next step, a very personal assessment, and also precisely follows the descriptive, from his point of view justified, for the audience to understand, linguistically nuanced and substantive, terms.
