c/o Francesco Pascoletti Viale Mazzini 113 00195 Roma Italy
Q: "Dead Lovers' Sarabande" surely could be considered a sort of concept-album. So, can you tell me anything about this concept ?
A: Well, you are right. There is, of course, a concept behind "Dead Lovers' Sarabande"... -just as always, actually! The only true difference this time might be the circumstance that the concept is far more obvious than before. But, forgive me, when I refrain from explaining it all to you in detail. For one this is not my habit .... and for two I believe that my work should explain itself. Though I am aware that some parts of it are rather difficult -if not impossible- to understand, when one is not capable of the German language. But, I guess, that is a problem I have to live with.
Q: I'd be glad to know something more about its musical structure... And what differences do you see between the first and the second part of "Dead Lovers' Sarabande" ?
A: Musically...? Hm, a couple of days ago I was talking to a French choreographer and she confessed that she actually prefers the first part of "Dead Lovers' Sarabande", as she perceived it as more delicate and feminine than the second one. I am not sure, but I believe that she is absolutely right about this..., at least to a certain degree. There is a peculiar duality behind it, yes. "Face One" also appears to combine a variety of different ... moods or sceneries ..., whereas "Face Two" is almost like one dark theatre play.
Q: I know about your love for the ancient music, but these last two releases are more medieval than you've ever been before! Am I wrong ?
A: I am not so sure, whether I'd agree on this one. As a matter of fact "Todeswunsch - Sous le Soleil de Saturne", with all its recorders, shawms and hurdy-gurdies seems far more medieval to me than the rest. "Dead Lovers'..." on the other hand contains a more "obvious" darkness, if you wish, the overall sound is more solemn and minimalistic..., so perhaps that is what reminded you so much of the ancient music... -but I don't know.
Q: When did you "create" the Ensemble of Shadows ?
A: I did not "create" the Ensemble, I merely discovered it. Through the years I became aware of their presence and started to communicate with them. They are with me ever since... But I don't like to talk about them in public anymore either...
Q: I'd like to know the way you prefer to write your lyrics. So, who are the writers that influenced you the most ?
A: I cannot confine the strange "sensation of being influenced" to one or two specific writers or poets. You have to understand that everything we see, hear or otherwise perceive with our senses, has an influence on our entire life .... and therefore, of course, on our (creative) work as well. Whether all this happens consciously or merely on a subconscious level is not really of that much importance. The effect is there! But especially (!) as an artist one should always take a closer (reflective) look at what one is doing ...., feeling .... or even thinking.
Q: In your career you have written both dark chamber music, medieval folk and obscure ambient music: throughout the years you've changed the way you create your songs a little. What is your point of view about this ?
A: No, actually you are wrong about this. There is a special intention working in secret behind all things as nothing ever happens without a reason or motive. I believe that it is so for all lyrics and music... in a certain moment and position within the continuum of space and time... a special melody or music is already assigned. The consequence arising from this idea is the circumstance of having no real choice regarding the selection, instrumentation and final sound of 'our' music, since its appearance is automatically defined by our own individual way of being (i.e. consciousness etc.)... in the very moment of the invocation of the song. Indeed, the artist's interaction with her/his entire (spiritual) environment, and with the lyrics, that is the name of the song or poem, actually seem to create this definition. If one keeps in mind that equal things always attract each other, allow me then to illustrate these thoughts by using the following model: Try to imagine an empty room. At its centre a peculiar source of light is sending out its rays. This source of light shall be the essence of the song upon which we have chosen to focus. Attracted by the characteristically pulsating rhythm of this light, the perhaps strangest, yet still corresponding entities, or energies, (however one prefers to call them) enter the room as they follow our invitation, leaving their traces behind whilst moving through it. Those entities, or energies, are the exact equivalent to the instruments and voices of the song. In fact, they do represent them. If we take a closer look at the resulting scenario after a certain space of time, that is, the room, the traces that have been left behind and the source of light all together as a whole... then from this picture we may perceive a symbolic equivalent of the moment when music and lyrics unite. It is, of course, important to capture the very moment of the highest intensity, in order to be as close as possible to the true essence of the song, and therefore also to the emotion one attempts to express in the first place.
Q: Have you got any regrets ?
A: Not really, no. There are, of course, one or two things, where I sometimes might think: "alas, if I just hadn't done this, everything would have come completely different...!", but fortunately I always remember, that if I had done things differently in the past, I also wouldn't not be here, where I am right now. If had not gone through all the pain, I wouldn't not be the (unbelievably beautiful) person that I have come to be! It's as simple as that.
Q: Who is SOPOR AETERNUS in the private life ?
A: SOPOR AETERNUS and Anna-Varney are one and the same, there is no separation, no dividing-line, between the two...
Q: Did you ever think about writing a real opera ?
A: Not necessarily an (entire) opera .... but .... well .... never mind.
Q: When you sing, you have different ways of chanting. I wonder the real meaning of each one of your voices...
A: Well, what do you feel, when listening to it? That should be the question to ask yourself.
Q: What's your opinion about the actual goth scene ?
Q: "Voyager - The Jugglers of Jusa" was something like a sequel to "The Inexperienced Spiral Traveller". What differences do you see between these two albums and your latest releases ?
A: Admittedly, I think that "The Inexperienced Spiral Traveller" has been the worst album I have ever recorded to this date. It had been a rather strange time for me, as, amongst other things, I was struggling with me transsexual identity and generally wasn't in a very good shape, either. All the possible mistakes one can make have been done on this album... We just talked about regrets... -well, I guess this album can definitely be counted as one. But, you see, it also has been the perfect lesson for me to learn and I certainly (-or hopefully-) won't do any of these mistakes again.