Two major projects with the Zürcher Sing-Akademie are on the programme this season. And Florian Helgath, the ensemble's Artistic Director, is making his debut as conductor of the Tonhalle- Orchester Zürich.
The Zürcher Sing-Akademie was founded in 2011 as the successor to the Swiss Chamber Choir. Initially made up of professionals and amateurs, it has been a purely professional choir since 2017. Under your direction, it has developed into a top international ensemble. How have you experienced this journey?
The decision to become 100 per cent professional was certainly an important step. But even then, it doesn't run by itself, a choir first has to come together. Especially in terms of the line-up: who fits who? Singing professionally doesn't automatically mean that you work as part of an ensemble. The voices have to be selected in such a way that they are suitable for different works and blend together with the greatest possible flexibility and quality. That was the path I wanted to take. I realised that we had to go through a development. We sing in a wide variety of projects, but we can now say: this is our sound.
This sound can often be heard in the Tonhalle Zurich ..
We benefit greatly from being a partner of the Tonhalle-Orchester Zürich. Making music at this level, with this orchestra and its conductors - that inspires us. In addition to this "home venue", we soon found external partners who still work with us today. So it came step by step.
What is the hall like for the choir?
It "sings" very well. When you stand in front of the organ and perform with this orchestra, which demonstrates a high level of quality and sensitivity in accompanying a choir, it's great. And then to have the space and fill it is really enjoyable. For us, as I said, it's a home venue. We like sounding in this hall - and I think we sound good!
In December, the choir will now perform Mendelssohn's "Paulus" with the Tonhalle- Orchester Zürich. Oratorios have always been performed not only in church, but also in the concert hall. Which do you prefer?
An oratorio is about a biblical story, it's a kind of opera for the church. But unfortunately, the acoustics in churches often have so much reverberation that you don't understand everything. Many details are lost. The acoustics in the Tonhalle, on the other hand, are perfect, you can hear everything. I would always want to perform a work like "Paulus" in a concert hall.
The "Paulus" performance is also special for another reason: you will be making your debut as conductor of the Tonhalle-Orchester Zürich and conducting the orchestra and choir for the first time at these concerts. Why did you choose this work?
I naturally chose a choral piece, that's in the nature of things. The choir sings about half of the numbers, which are very different. In terms of expression, there is an enormous range in it, from a thoroughly aggressive sound to a sweet, comforting one. You have to be very versatile and sometimes very vocally powerful, then again you need everything down to the smallest pianissimo.
How do you feel at the thought of standing in front of an orchestra for the first time?
Even though I regularly conduct concerts with orchestra and choir, it's still something special for me to be making my debut here with "St Paul". The orchestral part is very colourful, it offers far more than just accompaniment. You only have to look at the overture: It's a masterpiece! To experience the piece with an orchestra of this quality will be a marvellous experience.
Before that, there will be another joint project in November and early December 2025: The Zürcher Sing-Akademie will sing in Mahler's 2nd Symphony, which will also be recorded as part of the Mahler cycle.
For me, Mahler's Second is a truly perfect symphony in terms of its structure. When everything has been said in the orchestra, every arc has been spanned and every climax has been played, when the soloists have sung and you are now looking for the last possible climax, what else is there? The choir enters in triple pianissimo. It's incredibly beautiful. The idea is so ingenious and moving, I've never heard the piece without getting goosebumps.
After the Zurich performances, the choir will also perform the work in Baden-Baden, Cologne and Paris. What does that mean for the singers?
That will be great! We will be travelling with the orchestra on tour for the first time. It has an international reputation, performs in special venues - and we will be there as a partner choir. This is an honour, but of course also a responsibility for us.
You will be in charge of the choral rehearsals, Paavo Järvi will conduct the concerts ..
I'm also looking forward to that, as I do to all collaborations with Paavo. He is a great musician who also knows how to handle voices. I have a good rapport with him and like the way he deals with the choir and what he demands. He's very demanding, but that's exactly what's exciting.
What are your hopes for the future? For the choir, but also for the collaboration with the Tonhalle-Orchester Zürich?
I have to be honest: I'm very much in the here and now. The projects in the Tonhalle are always highlights for us. I'm just happy if it continues like this. Continuing to work with Paavo, but also with new conductors like Patrick Hahn last season, is extremely inspiring.
