How did your recording of Ravel’s L’Heure Espagnole, which has won Limelight’s Opera Recording of the Year 2017, come about?
Well, the way I like it, which means it was just a concert. In Munich, they record everything because it’s a radio orchestra and so everything being broadcast goes online. But the Tonmeister – who’s the son of Peter Schreier, mind you – he said, “This is too good, this is too good!” We had a very, very clean version from the concert and the general and they asked did I mind if they come out with this CD! I listened to the recording of the general and I thought, “Mmm, that’s really good, maybe this can happen.” So basically, it’s a live performance, with a few corrections from the general rehearsal.
Asher Fisch. Photo © Nik Babic
What attracts you to this piece in particular?
Oh, tons of things. First of all, as an opera person, you always love to get to a corner that is not so touched. And especially if it’s humoristic. I love Falstaff, I love Gianni Schicchiand for the same reason, I love L’Heure Espagnole, because...