When I was about 14, three recordings fell into my lap. My voice teacher gave me two of them: the two great Bach Passions with Herreweghe from the 80s. In addition - from my sister's CD cupboard - came the "Winterreise"; Fischer-Dieskau and Barenboim, late 90s. From then on, these recordings formed my triumvirate. I listened to them constantly, they entered my subconscious and shaped my idea of what listening to classical music can do and mean.
I am the son of a mathematician and an engineer, born in a small town in Saxony a few months before the fall of the Berlin Wall. There are no professional musicians in my family, yet we children were supposed to learn an instrument. I started with piano lessons and sang in a boys' choir; later I spent the last two years of school at the boarding school of a Dresden music high school.
During my studies, Hans-Christoph Rademann became an important mentor. Under his direction I was allowed to sing a great deal of Schütz and to participate in the first complete recording of this fascinating work. It is a treasure for life that I received as a gift.
Today I can be heard mostly with early music, but time and again also with contemporary compositions, and I travel a lot through Germany and Europe. When I look at what I can do as a singer and what fantastic musicians I can work with, I am sometimes still overcome by a slightly incredulous amazement.
Away from concerts, I try to understand the world by reading and listening, enjoy mathematical puzzles and get involved as a tutor for refugee children. But the most important thing to me is spending time together, with my partner and with my friends, time for conversation over good food.