Wolf : The Complete Songs, Vol. 1. Mörike Lieder (I)

Sophie Daneman, James Gilchrist, Stephan Loges...

Paru le 13/09/2011 chez Stone Records
Artistes principaux : James Gilchrist
Genre : Lieder (Allemagne)

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Langue disponible : anglais

This album features songs composed by Hugo Wolf (with lyrics by Eduard Mörike) sung by four talented, unique artists: soprano Sophie Daneman, mezzo-soprano Anna Grevelius, tenor James Gilchrist, and baritone Stephan Loges. Wolf's lieder cover a wide range of emotions here, some of which are interpreted more successfully than others. Soprano Daneman is at her best in "Er ists," where her high voice is in place, sweet and flexible. She also shines in the very expressive and subtle "Das verlassene Mägdlein," where she draws the listener in as she savors words like "geträumet habe" and rolls her Rs wonderfully. Anna Grevelius' singing is consistent and wonderful throughout the album, a mature, full sound with excellent shaping of phrases as one can hear in "An eine Äolsharfe" and playful scoops that are perfect for an elfin song like "Elfenlied," where she recalls Damrau or Kirchschlager. The best of tenor James Gilchrist can be heard in pieces like "Der Tambour," where the artist is truly in character, even if the technique is occasionally inconsistent. He is well matched to the tessitura of "Auf einer Wanderung," with its sprightly beginning both on the piano and in the voice. In the concluding "Karwoche," he is reverent and especially tender when singing in his high voice. Baritone Stephan Loges is a native German speaker, so it is no surprise that his clear sound has wonderful mastery of the language, such as in "Um Mitternacht," where he also demonstrates his excellent vocal control. Throughout the album, Sholto Kynoch's piano is in the wings, so to speak, supporting the musicians without overtaking the spotlight, and yet capably conveying the emotions required of each piece. Given that the subject matter and texts of so many of these pieces is passionate, grieving, romantic, even sexual, one cannot help but wonder why there is not more emotional depth explored in some of these lieder. "Verborgenheit" could be sung out more fully, for example, and the soprano's more successful songs are those that are sweeter in character. In sum, there is a certain energy that is lacking throughout the album, on different pieces for different artists. This is an energy that could be generated by greater dynamic contrasts, sharpened diction, and a stronger connection to character. So while there is no question about the talent of these artists here, some listeners may find this CD pleasant, rather than stirring or exciting.
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Wolf : The Complete Songs, Vol. 1. Mörike Lieder (I)

Sholto Kynoch

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