An interview with

Lucy Crowe

How did you prepare for this role and its vocal fireworks?

I love singing the fireworks!

I find it incredibly fulfilling. There’s something very diferent to singing the Angel in this piece, as opposed to singing Rodelinda or Cleopatra, because she represents everything that is good and just in the world; there isn’t an underlying layer of emotion. I’m trying to portray honesty, truth, innocence and purity as much as possible. So it’s about being lucid, transparent and singing the notes with integrity.

Is the first aria one of the biggest challenges for you? That aria is such a tour-de-force. When it came to recording it was challenging, because the oboes and I have to be tightly together. So it took a while to get us in sync. When it’s a one-off performance it doesn’t matter so much, but when you’re recording something you want to make it as perfect as possible. The other arias she has are just beautiful little pockets of joy, really.

You must have a good rapport with these musicians by now… I’ve worked with The English Concert ever since I left college; it was Trevor Pinnock who brought me on board as a soloist, and I’ve been working with them ever since. It’s such a joy to work with not only a conductor who is brilliant, but all of the orchestra; they are such virtuosic players and they play as one. You really do feel massively supported, but equally you raise your game because of the level that they play to; it is truly exceptional.