Here was a singer, at the start of what may be an important international career, bringing marked individuality to familiar repertoire.Yet she gave the greatest pleasure in Moravian folk poetry settings by Klement Slavicky (born in 1910 and apparently still a significant presence in Czech music). Not every note emerged perfectly formed, but if the throat occasionally pinched the beginning of a phrase, she always recovered her rich vocal lustre before it became a problem. As the last notes of “Traume” (Dreams) fade, she gazes heavenward, longing to follow the dreams to the grave.
It all proclaimed a subtle and moving theatricality. A glint in her eye proclaims that she’s going to make the most of this, and indeed she does. At the start of Wagner’s “Schmerzen” (Anguish), she takes a deep breath, puffs out her chest. Her platform manner is contained, discreet: which makes every gesture tell all the more. Most of the time one arm rests casually on the piano, but at moments of emotional release – as when Mahler proclaims, “Spring is gone! There’ll be no more singing!” – the piano becomes her crutch in the face of intolerable pain.

Mahler and Wagner gave her the chance to display the melancholy shadings that the mezzo voice relishes. Peckova’s stage personality and vocal identity made sure that the comparisons which such repertoire invites were largely avoided, and she seemed to have an easy rapport with pianist Roger Vignoles, which in turn communicated itself to the audience: here is a singer eager and able to grab the attention on her own terms. For her Wigmore Hall debut last Friday the Czech mezzo-soprano Dagmar Peckova offered a programme that mostly played safe in terms of attracting an audience: Mahler’s Lieder eines fahrenden Gesellen, Wagner’s Wesendonk Lieder, three arias from Mozart’s La Clemenza di Tito for a rousing climax. It was for Smash Hits right at the beginning of their career. I’ve no idea why we had to go to the Alf Gover cricket school Kind of sums up the era, really.. We did the picture on the roof of Dryden Chambers where all the punks had their headquarters There was an outdoor toilet up there. Mark decided do this and I tried to be cool and take a picture of it I’m crazy about Mark Perry.

I think he’s one of the greats.Depeche Mode, 1982They’d probably pay me a fortune not to print this one. Can’t think of another band I’ve enjoyed working with so much.Mark P, editor of Sniffin’ Glue, 1978It’s his favourite image of himself, though his mum’s not so keen. Someone told me afterwards he was talking to Paul McCartney.Liam Gallagher of Oasis, 1995This was taken at Glastonbury I’m mad about Oasis at the moment. I’ve been on the road with them and I drop in and photograph them occasionally I really, really enjoy working with them. It was in the Royal Garden Hotel and Stevie was talking on the phone in a fantastic variety of accents: Scottish, Irish, Liverpool… This picture was taken with a long exposure and I’m sure he didn’t know I took it There’s something desperately angry about him.

He just looks furious, doesn’t he? Even Dee Dee Ramone looks a bit nervous.Stevie Wonder, 1974I remember this moment vividly. I used to think: thank goodness he’s tethered to a guitar on the stage where I can see him and not in the audience behind me. I didn’t know I had this picture for years and then one day I was looking through the Ramones file and saw this and immediately recognised it for what it was.I was very frightened of Sid Vicious. I’d love to shoot her again.Sid and Nancy, 1977There’s a Ramone in the background, so it must be backstage at the Rainbow.