BaL 26.03.16 - Schumann: Frauenliebe und -leben

[ardcarp]

I thoroughly enjoyed this review and thought EJ did a great job.

I couldn't understand the reviewer quoting those Cardus comments about a Ferrier recital which seemed to be about visual gestures, unless she was trying to highlight overemphasis. I thought the Ferrier extract she played was superb, perfectly phrased and emphasised,

I think Erica had read around to find some historical context, i.e trying to track how performance styles have changed. The most fascinating was that brief extract, unbelievably recorded in 1909. I can't remember the performers' names, but the singer was so free with the rhythm, the pianist had to go in fits and starts...not easy with a quaver accompaniment. (If you listen to McCormack recordings, he does the same sort of thing.) So styles have changed a lot, and I guess the reviewer's challenge is to find something which today's listener will be happy with. I'm very happy with her final choice.

[verismissimo]

... and when I heard the phrase 'with xxx on the piano' I switched off until 10.30 .

You must be an AT the piano man, then, DP?

[VodkaDilc]

I started to listen, though the work is not of great interest to me.

The presentation did nothing grab me further, and when I heard the phrase 'with xxx on the piano' I switched off until 10.30 .

At least they retained the definite article. "On piano" is even worse.

[Don Petter]

You must be an AT the piano man, then, DP?

I would allow 'on vibes' (though not while I'm in the room).

[HighlandDougie]

I thoroughly enjoyed this review and thought EJ did a great job.

I'm very happy with her final choice.

Whew! I'm glad I'm not the only one. I really enjoyed this BaL and, as the only recording I have is of Edith Mathis (on LP), I've bought a cheapo copy of the von Otter. I'm with EJ on Janet Baker, though - beautifully sung but she did sound a bit matronly to me.

[ferneyhoughgeliebte]

I'm with EJ on Janet Baker, though - beautifully sung but she did sound a bit matronly to me.

Well - the narrator does become a mother during the cycle.

[peterkin]

Whew! I'm glad I'm not the only one. I really enjoyed this BaL and, as the only recording I have is of Edith Mathis (on LP), I've bought a cheapo copy of the von Otter. I'm with EJ on Janet Baker, though - beautifully sung but she did sound a bit matronly to me.

Not on her first recording with Martin Isepp. Still unsurpassed IMV

[gradus]

I didn't hear a voice that I didn't think lovely in these affecting settings but the one that stood out for me was Juliane Banse with Graham Johnson, although I could live with any version reviewed and I daresay most of the others too with possible exception of Felicity Lott. Voices apart, how about Schumann's sublime piano writing.

[ardcarp]

how about Schumann's sublime piano writing.

Well, quite. In a song it might seem obvious that the singer is of prime importance. But 'accompanist', 'at the piano', 'on the piano' all serve to diminish the role of a (nearly?) equal partner. After all the words were as powerful in shaping the piano part (sometimes very literally in Schubert...Erlkonig, Gtretchen, Leiermann) as the vocal part.

[Nick Armstrong]

Caught up today. This is a work I've heard bits of over the years, but never complete i.e. I've never owned a recording.

As the survey progressed, the voices that most appealed to me were Auger, Lott and von Otter.

However Flott seemed to me less good later on in the cycle, and (despite that amazing singing in the 'confidential whispering to husband' song), von O seemed to me to be over-loving it, not letting the music speak for itself, and her accompanist to be oddly recorded.

I must have a proper listen to all 3 but overall, it was Arléen Auger's performance which struck me as quite perfect, and with an ideal natural recording. I inferred that she was the reviewer's 'runner up'...

deal-breakers ... in singing: (a) continuous vibrato, (b) wide vibrato.

.....I found that every rendition I heard used continuous vibrato

...Auger...

Normally, as I've too often made clear hereabouts, I am with you on excessive vibrato. I am very much wobble-phobic. However, I'm listening to the Auger now and I find her voice simply warmed by some vibrato, it sounds to my ears expressively pure.... indeed, beautiful enough to bring a lump into the throat from the sheer sound of it in the first song. And of the excerpts we heard, only AA delivers those turns in the second song clearly, accurately and expressively - again, imvvho....