ABSTRACT
It was not until working on my latest staged concert I Went to the House But Did Not Enter for the four singers of the British Hilliard Ensemble that I was suddenly confronted with the unfamiliar question of how to deal with the voice. Unfamiliar to me because there was always something like a subconscious formula that connected all my audio and music-theatre productions up until that point: working with peculiar, idiosyncratic voices. As I have always been suspicious of all the standardized and academic forms of speaking and singing, this seems to have become a basic requirement for all aesthetic communication.
