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The Voice: A Memoir
The Voice is the profoundly inspiring memoir of one of the most sought after and admired classical singers in the world--a man who has arrived at the summit of his artistry by overcoming extraordinarily daunting odds.
Thomas Quasthoff, the German bass baritone, stands a shade over four feet tall, his severely underdeveloped arms and hands the result of thalidomide poisoning while he was in his mother's womb. But through stunning determination enlivened by an impish sense of human, Quasthoff has overcome his physical limitations and Dickensian childhood, cultivating his musical genius and thrilling classical music lovers with his sublime voice.
What shines through Quasthoff's astonishing story is his staunch refusal to wallow in self-pity, to see himself as a victim. Whether he is evoking a harrowing childhood marked by multiple agonizing surgeries, relating folksy family anecdotes, expressing his devotion to his students as a professor of voice, expounding on his love of jazz and American popular music (he is a great admirer of Stevie Wonder), or unburdening himself of his wickedly outspoken views on art and disability, Quasthoff's unerring sense of humanity, boisterous conviviality, and fierce honesty are always on display.
The Voice is utterly winning--a memoir to both marvel at and enjoy.
Thomas Quasthoff, the German bass baritone, stands a shade over four feet tall, his severely underdeveloped arms and hands the result of thalidomide poisoning while he was in his mother's womb. But through stunning determination enlivened by an impish sense of human, Quasthoff has overcome his physical limitations and Dickensian childhood, cultivating his musical genius and thrilling classical music lovers with his sublime voice.
What shines through Quasthoff's astonishing story is his staunch refusal to wallow in self-pity, to see himself as a victim. Whether he is evoking a harrowing childhood marked by multiple agonizing surgeries, relating folksy family anecdotes, expressing his devotion to his students as a professor of voice, expounding on his love of jazz and American popular music (he is a great admirer of Stevie Wonder), or unburdening himself of his wickedly outspoken views on art and disability, Quasthoff's unerring sense of humanity, boisterous conviviality, and fierce honesty are always on display.
The Voice is utterly winning--a memoir to both marvel at and enjoy.
256 pages, Hardcover
First published January 1, 2004
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43 people want to read
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Displaying 1 - 8 of 8 reviews
October 9, 2023
Quasthoff is among the—if not THE—great baritones of our, or any, age. There are two ways of initially perceiving Quasthoff. One may be through hearing one of his recordings. Even if you aren’t familiar with or care for classical vocal music, it would be difficult not be captivated by the depth and pureness of his sound (the other natural voice in this category, in my opinion, is Ella Fitzgerald’s). The other might be because of his appearance, which he sums up early in the book: “There stands a four foot four inch tall concert singer, without knee joints, without arms and thighs, with only four fingers on the right hand and three on the left.” (“Da steht ein ein Meter zweiunddreißig großer Konzertsänger, ohne Kneigelenke, ohne Arme und Oberschenkel, mit nur vier Fingern an der rechten und dreien an der linken Hand.“) As one of the thousands of children in the late 1950s/early 1960s born in Germany with deformities caused by the drug thalidomide* (known as Contergan in Germany), Quasthoff’s unique story is told in a charming, honest way and sheds light on a remarkable, incredibly likeable artist and, in the true meaning of the Yiddish word, a real Mensch.
Quasthoff was fortunate to have been born into the family he was. His parents raised him to be as independent as possible. They were pioneers of a sort who, after a sad episode early in his education, got him into a regular school where he flourished among his friends. They also imparted in him a love of music. His varied influences included jazz, gospel, rock, classical art songs and, most surprisingly, even kitschy German pop music. He rose steadily in musical stature by performing locally and became nationally known after winning the prestigious annual German ARD music competition. His appearance created a stir, but his talent created a career.
The book includes multiple anecdotes about his performances, his triumph on the international scene which included a couple of Grammys, as well as his behind-the-scenes assessments of fellow performers, celebrities and politicians. He spares no one with his honest insights, but don’t think that this is a collection of gripes; they just give greater depth to the man’s integrity. His advocacy for the arts, music teaching, and, later in his life, on behalf of children affected by the long-term effects of the Chernobyl disaster also demonstrate an intellectual consistency.
Unfortunately, shortly after this book was published he announced that he would retire from performing because of health reasons related to his disability. Having seen him once in concert—arguably one of the very best of the hundreds of concerts I have attended—it is a tragedy that audiences will not have the opportunity to see his inspiring singing live anymore. Although his performing career was relatively short, at least a rich catalogue of his recordings remains. After reading this book, I think anyone would love to be able to hang out in a bar with him to talk about anything.
* A note about thalidomide (known as contargon in German): This drug was prescribed to expectant mothers, mostly in Germany but also in other parts of Europe from 1959-1953 to help them sleep and prevent nausea. It had not been tested thoroughly in the development process. In the early stages of pregnancy, thalidomide inhibited the formation of blood vessels in the extremities. This caused the births of thousands of children with significant developmental issues including brain damage, deformed and missing limbs as well a variety of other physical consequences. As a community, these people were never adequately compensated to help manage and deal with these disabilities. Many were ostracized from their families and communities. And many have had shortened life spans.
Largely because of the consequences of the thalidomide experience, drug development approval evolved into the regulatory systems used today by all western industrialized nations. For example, the establishment of the modern U.S. Food and Drug Administration (FDA) can be traced back to the tragedy of thalidomide. Interestingly, there is a positive postscript.
In 1971 Judah Folkman, a cancer researcher, published his findings about the theory of tumor angiogenesis. Simply stated, this theory stated that tumor created new bloodlines in order to get nourishment. That led to the related theory of anti-angiogenesis: the idea that one could limit the growth—if not kill—a tumor not by attacking it through chemotherapy or surgery, but by limiting and ending the growth of the new nourishing bloodlines. In the mid-1990s, the wife of a patient with multiple myeloma, a rare cancer of the plasma cells of the bone marrow, whose previous treatments had failed, learned about Folkman’s research and linked it to the experience of thalidomide.
Her doctor, Bart Barlogie from Little Rock, Arkansas, decided to try thalidomide as a treatment for myeloma. The theory: what was a tragic, destructive action when administered to pregnant women might cause anti-angiogenesis for tumors in myeloma patients. While it did not work for the first patient, Barlogie continued to use it in other patients with success. It was the first new therapy for a disease that had no meaningful advances in more than 40 years. Thalidomide became a highly regulated drug that, within a few years, was being used by a majority of myeloma patients. It was also the first drug that confirmed Folkman’s theory in practice.
Although thalidomide still had some significant side effects—it caused neuropathy, or numbness, in the hands and feet of patients, often severe—it significantly improved life-expectancy for thousands of myeloma patients worldwide. It was so successful that in the early 2000s, the U.S. government approved coverage for thalidomide under Medicare. It was the first drug that was reimbursed for an off-label indication, i.e., it was prescribed for a disease for which it had not been approved (thalidomide was approved as treatment for leprosy). Most medications taken by cancer patients are prescribed off-label. Today, the next generation of medications in the family tree of thalidomide are successfully treating a variety of cancers for hundreds of thousands patients throughout the world.
Quasthoff was fortunate to have been born into the family he was. His parents raised him to be as independent as possible. They were pioneers of a sort who, after a sad episode early in his education, got him into a regular school where he flourished among his friends. They also imparted in him a love of music. His varied influences included jazz, gospel, rock, classical art songs and, most surprisingly, even kitschy German pop music. He rose steadily in musical stature by performing locally and became nationally known after winning the prestigious annual German ARD music competition. His appearance created a stir, but his talent created a career.
The book includes multiple anecdotes about his performances, his triumph on the international scene which included a couple of Grammys, as well as his behind-the-scenes assessments of fellow performers, celebrities and politicians. He spares no one with his honest insights, but don’t think that this is a collection of gripes; they just give greater depth to the man’s integrity. His advocacy for the arts, music teaching, and, later in his life, on behalf of children affected by the long-term effects of the Chernobyl disaster also demonstrate an intellectual consistency.
Unfortunately, shortly after this book was published he announced that he would retire from performing because of health reasons related to his disability. Having seen him once in concert—arguably one of the very best of the hundreds of concerts I have attended—it is a tragedy that audiences will not have the opportunity to see his inspiring singing live anymore. Although his performing career was relatively short, at least a rich catalogue of his recordings remains. After reading this book, I think anyone would love to be able to hang out in a bar with him to talk about anything.
* A note about thalidomide (known as contargon in German): This drug was prescribed to expectant mothers, mostly in Germany but also in other parts of Europe from 1959-1953 to help them sleep and prevent nausea. It had not been tested thoroughly in the development process. In the early stages of pregnancy, thalidomide inhibited the formation of blood vessels in the extremities. This caused the births of thousands of children with significant developmental issues including brain damage, deformed and missing limbs as well a variety of other physical consequences. As a community, these people were never adequately compensated to help manage and deal with these disabilities. Many were ostracized from their families and communities. And many have had shortened life spans.
Largely because of the consequences of the thalidomide experience, drug development approval evolved into the regulatory systems used today by all western industrialized nations. For example, the establishment of the modern U.S. Food and Drug Administration (FDA) can be traced back to the tragedy of thalidomide. Interestingly, there is a positive postscript.
In 1971 Judah Folkman, a cancer researcher, published his findings about the theory of tumor angiogenesis. Simply stated, this theory stated that tumor created new bloodlines in order to get nourishment. That led to the related theory of anti-angiogenesis: the idea that one could limit the growth—if not kill—a tumor not by attacking it through chemotherapy or surgery, but by limiting and ending the growth of the new nourishing bloodlines. In the mid-1990s, the wife of a patient with multiple myeloma, a rare cancer of the plasma cells of the bone marrow, whose previous treatments had failed, learned about Folkman’s research and linked it to the experience of thalidomide.
Her doctor, Bart Barlogie from Little Rock, Arkansas, decided to try thalidomide as a treatment for myeloma. The theory: what was a tragic, destructive action when administered to pregnant women might cause anti-angiogenesis for tumors in myeloma patients. While it did not work for the first patient, Barlogie continued to use it in other patients with success. It was the first new therapy for a disease that had no meaningful advances in more than 40 years. Thalidomide became a highly regulated drug that, within a few years, was being used by a majority of myeloma patients. It was also the first drug that confirmed Folkman’s theory in practice.
Although thalidomide still had some significant side effects—it caused neuropathy, or numbness, in the hands and feet of patients, often severe—it significantly improved life-expectancy for thousands of myeloma patients worldwide. It was so successful that in the early 2000s, the U.S. government approved coverage for thalidomide under Medicare. It was the first drug that was reimbursed for an off-label indication, i.e., it was prescribed for a disease for which it had not been approved (thalidomide was approved as treatment for leprosy). Most medications taken by cancer patients are prescribed off-label. Today, the next generation of medications in the family tree of thalidomide are successfully treating a variety of cancers for hundreds of thousands patients throughout the world.
August 21, 2010
This memoir is a lot about the music and not as much about the man, and I do feel a little guilty about wishing for more details, more dirt, just more on what it was like growing up with his disability and what it is like living with it now (Quasthoff was permanently disabled by exposure to thalidomide in the womb). But I also understand that he is not interested in his disability or his story as a victim, but his story as an artist. And he has been extremely successful both professionally and personally (married with a daughter). I've requested a few of his CD's which actually is probably the best way to "know" a musician.
October 2, 2023
O man, Thomas Quasthoff is some special guy.
About his disability – he has a length of 1,34 m and not-fullgrown hands – he has always said: “my disability is a fact, not a problem”. He has come from short and far, but the desire and the urge to sing has never left him from early childhood. Having conquered all kinds of troubles he became foremost a singer of the classical repertoire, a bass-baritone. And o dear, what a phenomenal voice this gentleman has! I have attented three concerts in the Amsterdam Concertgebouw. June 29, 1999, a performance of ‘La Damnation de Faust’ by Berlioz, played by the Radio Filharmonisch Orkest led by Bernard Haitink, Quasthoff in the role of Mefisto. March 2, 2002, he sang, accompanied by Charles Spencer on piano, songs by Debussy, Liszt, Loewe and Ravel. And March 6, 2005, he sang, together with soprano Malin Hartelius and pianist Justus Zeyen, the Italienisches Liederbuch by Hugo Wolf. Memorable concerts, all three. He not only has a far reaching big voice, but it has a sort of velvet topping, quite special for someone who controls his bass register so well. His diction is phantastic, as befits a good Liedsinger.
Quasthoff is not only versatile within the classical domain, he also has made his artistic moves out of that box, as an excerpt from january 2016 the Concertgebouw-magazine shows:
“In 2012, Thomas Quasthoff ended his career as a classical singer. Since then, he has developed a number of other talents. He has been active as a storyteller and has performed as such with, among others, the Belcea Quartet and the Berliner Philharmoniker; with the Radio Symphonie Orchester Wien, he performed the speaking part in Schoenberg's A Survivor from Warsaw. Thomas Quasthoff made his acting debut with the role of Feste in Shakespeare's Twelfth Night, or What You Will. Together with author Michael Frowning and pianist Jochen Kilian, he made his debut on the cabaret stage in 2013. In 2015, Thomas Quasthoff performed as a conductor for the first time, with Bach’s Matthäus-Passion (St Matthew Passion) by the Verbier Festival Orchestra and the RIAS Kammerchor.”
In this autobiography of Thomas Quasthoff, made with the cooperation of his brother Michael, there are multiple scenes in which you get snippets of his personal life as well. They make for pleasant changes. Cheerful encounters with friends are interspersed with anekdotes about things going wrong, you get mini-masterclasses about elements of the cultural life in Europe and beyond as far as it is attached and as background information suitable for understanding what kind of repertoire Quasthoff has sung. And he does not shy away from serious arguments about social topics, even politics.
If I am well informed, Thomas Quasthoff still teaches at the Musikhochschule 'Hanns Eisler' in Berlin.
This was a very pleasant read! JM
Bach https://www.youtube.com/watch?v=VCFvh...
Schubert, orchestrated by Brahms https://www.youtube.com/watch?v=60Kia...
And now for something completely different: https://www.youtube.com/watch?v=Hf7-M...
About his disability – he has a length of 1,34 m and not-fullgrown hands – he has always said: “my disability is a fact, not a problem”. He has come from short and far, but the desire and the urge to sing has never left him from early childhood. Having conquered all kinds of troubles he became foremost a singer of the classical repertoire, a bass-baritone. And o dear, what a phenomenal voice this gentleman has! I have attented three concerts in the Amsterdam Concertgebouw. June 29, 1999, a performance of ‘La Damnation de Faust’ by Berlioz, played by the Radio Filharmonisch Orkest led by Bernard Haitink, Quasthoff in the role of Mefisto. March 2, 2002, he sang, accompanied by Charles Spencer on piano, songs by Debussy, Liszt, Loewe and Ravel. And March 6, 2005, he sang, together with soprano Malin Hartelius and pianist Justus Zeyen, the Italienisches Liederbuch by Hugo Wolf. Memorable concerts, all three. He not only has a far reaching big voice, but it has a sort of velvet topping, quite special for someone who controls his bass register so well. His diction is phantastic, as befits a good Liedsinger.
Quasthoff is not only versatile within the classical domain, he also has made his artistic moves out of that box, as an excerpt from january 2016 the Concertgebouw-magazine shows:
“In 2012, Thomas Quasthoff ended his career as a classical singer. Since then, he has developed a number of other talents. He has been active as a storyteller and has performed as such with, among others, the Belcea Quartet and the Berliner Philharmoniker; with the Radio Symphonie Orchester Wien, he performed the speaking part in Schoenberg's A Survivor from Warsaw. Thomas Quasthoff made his acting debut with the role of Feste in Shakespeare's Twelfth Night, or What You Will. Together with author Michael Frowning and pianist Jochen Kilian, he made his debut on the cabaret stage in 2013. In 2015, Thomas Quasthoff performed as a conductor for the first time, with Bach’s Matthäus-Passion (St Matthew Passion) by the Verbier Festival Orchestra and the RIAS Kammerchor.”
In this autobiography of Thomas Quasthoff, made with the cooperation of his brother Michael, there are multiple scenes in which you get snippets of his personal life as well. They make for pleasant changes. Cheerful encounters with friends are interspersed with anekdotes about things going wrong, you get mini-masterclasses about elements of the cultural life in Europe and beyond as far as it is attached and as background information suitable for understanding what kind of repertoire Quasthoff has sung. And he does not shy away from serious arguments about social topics, even politics.
If I am well informed, Thomas Quasthoff still teaches at the Musikhochschule 'Hanns Eisler' in Berlin.
This was a very pleasant read! JM
Bach https://www.youtube.com/watch?v=VCFvh...
Schubert, orchestrated by Brahms https://www.youtube.com/watch?v=60Kia...
And now for something completely different: https://www.youtube.com/watch?v=Hf7-M...
May 18, 2016
This is an intimate portrait of Thomas Quasthoff's life. He is one of the finest singers in the world and has had so many difficulties to deal with in his life. One must hear and see him perform - there are plenty of videos on youtube, etc. - to truly appreciate him on so many levels. I highly recommend the book and his many recordings. It has been a privilege to hear him sing in person and to hear him speak.
July 29, 2011
This man is funny, his observations on the world and the music world are very entertaining. The recounting of his various reviews are hilarious in themselves. Sadly, I think something is lost in the translation, German phrasing never quite works in English. I want to drink a beer with him after reading his book!
March 24, 2016
If you love classical music like I do, I recommend this memoir written by the bass baritone, Thomas Quasthoff. A tragic victim of thalidomide poisoning, but gifted with a magnificent voice and blessed with strong family support, he rose to the heights of the fiecely competitive music scene. He tells his intensely human story with wit and insight.
August 1, 2008
Thomas Quasthoff is an absolutely amazing singer, and one of my favorites.
The book is neither.
But it has moments, and I wouldn't 'un-read' it...
I'd rather listen to him.
The book is neither.
But it has moments, and I wouldn't 'un-read' it...
I'd rather listen to him.
February 7, 2016
Enjoyable read. Unfortunately, Mr. Quasthoff had to cancel the concert at which I was going to finally hear him sing :-(
Displaying 1 - 8 of 8 reviews