Dame Janet Baker sings Mozart, Beethoven and Schubert

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Essential listening, I’d venture to suggest, even for those who already have the Philips Originals box set I reviewed here. Here we have the whole of Baker’s 1977 Beethoven and Schubert recital, of which three items appear on the Philips box, coupled to the Mozart items from her 1974 Mozart and Haydn recital, none of which do.

The prize of this CD is Dame Janet’s superb rendering of Sesto’s arias from La Clemenza di Tito. Not only is it a technical tour de force, the rapid triplet figures at the end of Parto, parto tossed off with breathtaking ease, but the range of expression is extraordinary and personal. I have never heard another singer differentiate so much between the repeated cries of Guardami!; in the first she pleads almost angrily, but in the second her tone changes completely, becoming meltingly beseeching, as if Sesto realises he has gone too far. Furthermore she has the ability to get to the emotional core of the music without ever disrupting its Classical style. Pure genius.

Elsewhere she is in enviable form in a programme that ranges wide, including rarities like Beethoven’s No, non turbati and arias from Schubert’s Lazarus and Alfonso und Estrella. Leppard’s accompaniments, whether conducting the English Chamber Orchestra or on the piano or harpsichord are discreet rather than revelatory, perhaps happy, with such a patrician artist, to let his soloist take the lead.

The recordings, originally made for Philips in quadrophonic sound, are here issued in SACD, though I was listening in simple stereo. They are wonderfully clear and lucid.

Highly recommended.

Valerie Masterson – Song Recital

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  1. Arne – O ravishing delight
  2. Arne – Under the greenwood tree
  3. Arne – The soldier tir’d
  4. Handel – Nel dolce del’oblio
  5. Bishop – Lo! Here the gentle lark
  6. Gounod – Le premier jour de mai
  7. Gounod – L’absent
  8. Gounod – Sérénade
  9. Bizet – Vieille chanson
  10. Bizet – Pastel
  11. Bizet – Tarantelle
  12. 12 – Satie – La diva de l’empire

The English soprano Valerie Masterson was a mainstay of my early opera going life and I saw her on stage quite a few times. A light lyric soprano with great flexibility and an immediately recognisable voice, she was also much admired in France, having made her French debut in Toulouse in the role of Manon. The following year she created quite a stir at the Aix-en-Provence Festival singing the role of Matilde in Rossini’s Elisabetta, Regina d’Inghilterra opposite Montserrat Caballé. She was an arrestingly beautiful woman with a charming stage presence and I well remember her Semele at Covent Garden which was both vocally and visually stunning. Unfortunately I didn’t get to see her ravishing Cleopatra in ENO’s production of Handel’s Julius Caesar (sung of course in English) with Janet Baker, but at least it was filmed. I did however see her as Manon, Juliette, Margeurite, the Governess in Britten’s Turn of the Screw and as the Marschallin, a role she took into her repertoire quite late in her career, having had enormous success as Sophie when she was younger.

Recorded in 1986 when Masterson was approaching 50, this recital probably catches her just past her best. There is just the suspicion that the lovely voice is thinning out, a trace of a slight taint on its silvery purity. Nevertheless the recital is something of a treasure, especially considering Masterson was so little recorded.

With piano accompaniment provided by Roger Vignoles, it splits neatly into two halves, the first being of music from the baroque era (Arne, Handel and Thomas Bishop), where she is joined by Richard Adeney on the flute, and the second of songs by Gounod, Bizet and Satie. The baroque items display her neat and deft coloratura as well as her ability to shape the long line. When she sings O ravishing delight in Arne’s song, the words mirror exactly the sounds coming from the speakers. It is good also to have the Handel cantata, reminding us of her many successes in his works.

The French items are all fairly light. They are a sung with elegance and style but a little more variety in the material might have been welcome here. She finishes with a delightful performance of Satie’s La Diva de l’Empire which captures a coquettish smile in the voice.

A lovely reminder of a lovely singer.

Lorraine Hunt Lieberson – Songs by Mahler, Handel and Peter Lieberson

 

There are some singers whose emotional connection to the music they are singing is so complete, so all-embracing that such minor details as vocal technique and beauty of voice are completely forgotten. Not that either of those two qualities are in the least bit lacking here, but they don’t really register, so intense, so all-enveloping is the experience of listening.

Lorraine Hunt Lieberson was one such artist and, more than once during the course of this marvelous recital, she managed to reduce me to tears. In her voice, the act of singing becomes as natural as the act of speaking. There is no artifice, no show, just total commitment to the music and that rare gift of communication.

The disc starts with a highly personal and emotionally shattering performance of Mahler’s Rückert Lieder. I prefer Mahler’s orchestral version of these wonderful songs but even with piano accompaniment (wonderfully realised by Roger Vignoles here) I would place this performance with Janet Baker’s of the orchestral versions under Barbirolli as the pinnacle of Mahler interpretation. Indeed the desolation of Um MItternacht is utterly overwhelming and the performance of all the songs totally gripping, with the audience sitting in rapt silence.

The Handel items, though more theatrical, more outwardly dramatic, are no less sincere. She makes musical sense of the vocal leaps in Scherza infida and pours calming balm on the ears in As with rosy steps from Theodora, a reminder of her devastating Glyndeboure performances of Irene.

She married Peter Lieberson the year after this recital and she sings here two of his Rilke settings, written specifically for her as well as an aria from his opera Ashoka’s Dream, which she performed in Santa Fe the previous year. The lovely Rilke songs were recorded complete at the Ravenna Festival in 2004 but it is good to have this tantalising extract from Lieberson’s opera.

To close we have two encores, a stunningly heartfelt performance of the spiritual Deep River which became something of a Hunt Lieberon speciality and a radiantly ecstatic performance of Brahms’s Unbewegte laue Luft.

Hunt Lieberson died at the age of 52 when she was at the absolute height of her career, which makes every recording she made, most of them from live performances, absolutely essential. This one is no exception

Barbara Hendricks – Spirituals

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Fifteen years separates these two discs of Spirituals by Barbara Hendricks and the intervening years have done little to tarnish the voice’s beauty. I suppose if one listens carefully and with a highly critical ear, a slight wear on the top register is detectable, a little of the gloriously rich bloom has gone but, for the most part, the consistency is remarkable.

However the two discs differ quite a lot in other ways. The first one might be seen to have a more sophisticated approach, treating the spirituals more as art song with piano accompaniments beautifully realised by classical pianist and winner of the Leeds Piano Competition in 1975, Dmitri Alexeev, whilst the second adopts what one would consider a more traditional approach with the contribution of the Moses Hogan Singers. You might think, therefore that the second would be the more satisfying, but I prefer the approach of the first, which brings more concentration on the songs and Miss Hendricks’s glorious singing. More than once the second disc, though beautifully executed, has a whiff of Hollywood, and it is the first disc I listen to most often. You might have different preferences.

The first disc has a good cross section of slow and up tempo songs, of the not so well known and favourites like Swing low. sweet chariot and Nobody knows de trouble I’ve seen. Hendricks gorgeous voice is in prime condition here, velvety and rich in the lower and middle registers and opening out into that gleamingly individual top register. Her diction is superb too and she makes no concessions to the music, singing with a burning conviction that suits the material well. Her exhortation of The lord loves a sinner in Roundabout da mountain would convince any sinner to repent whilst her beautifully lulling Swing slow, sweet chariot would rock any baby to sleep. She also has the voice for joy in such songs as Ev’ry time I feel de spirit. A wonderful disc and on its own well worth the price of the two disc set, which closes a disc guaranteed to lift the spirits.

The second disc provides variety by including songs for unaccompanied solo voice and for just the choir, but, for my money, there is more musical variety in the first one.

Jill Gomez – A Recital of French Songs

 

The Trinidadian/British soprano Jill Gomez was a mainstay of my early opera going life, and I heard her on more than one occasion. I particularly remember seeing her as the Countess in Le Nozze di Figaro and Elizabeth in Henze’s Elegy for Young Lovers with Scottish Opera, as Ilia in Idomeneo and the Governess in the The Turn of the Screw with English Opera Group and as Tytania in A Midsummer Night’s Dream at the Royal Opera House, Covent Garden. The voice was not large, but she was a strikingly good looking woman with a great stage presence and also a good actress. She is probably best known for creating the role of Duchess of Argyll in Thomas Adès’s Powder Her Face and singing the title role in William Alwyn’s Miss Julie.

I have known and loved this recital since I bought the original LP soon after it was first released in 1974, and was delighted to find that it had been reissued on CD. The programme is attractive and Gomez has a lovely voice, which she uses imaginatively and musically. Indeed one wonders why such accomplished singing has received so little attention.

We start with a group of songs by Bizet, possibly of slight musical value but direct and charming in their appeal. Gomez is delectably light and airy but also delivers a deliciously sensuous and coquettish Adieux de l’hôtesse arabe, which is probably the most well known of the group. The Berlioz items, especially La belle voyageuse, are also sung with distinction and charm.

The Debussy Proses lyriques are not performed as often as some of Debussy songs, and they are quite hard to bring off. Gomez is fascinating and vividly personal, superbly seconded by John Constable’s realisation of the tricky piano part. In many places I was reminded of Mélisande’s music in Pelléas et Mélisande. A superbly characterised Noël des enfants qui non plus de maisons brings ths superb recital to a close.

Gomez brings something personal to all that she does and John Constable provides estimable support throughout. Highly recommended if you can get hold of a copy.

Jarmila Novotna -The Great Soprano’s Own Selection of her Finest Recordings

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The Czech soprano Jarmila Novotna made few recordings but had a long and illustrious career. She made her debut in 1925 at the age of 17, in no less a role than that of Violetta and retired in 1956 at the age of 49. No doubt some will remember her for her appearance in the Hollywood movie The Great Caruso in which she played the diva Maria Selka.

This disc collects together recordings selected by Novotna herself and taken from her own collection, and shows the voice still firm and true in 1956, when the recording of Rusalka’s Song to the Moon (with piano) was recorded.

The disc doesn’t, however, get off to the best of starts as, to my ears, the voice sounds strained in the upper reaches of Smetana’s Lark Song from The Kiss (also with piano), which was recorded in 1926. Nor do I find her Cherubino particularly characterful, though the voice itself is quite lovely here and sounds more comfortoble in this tessitura, as it is in Pamina’s arias, though she dosen’t quite find the pathos needed for Ach ich fühls.

For me the most treasurable items are the piano accomapanied Songs of Lidice (Czech Folk Songs) which exploit her rich middle voice. The voice is also beautifully captured in a 1945 recording of the the folk song, Umrem, umrem, this time with orchestra and chorus, but arguably best of all is the vocal arrangement of Fibich’s Poème, a piece I know from my teenage years, when I used to play it on the piano, which is deeply felt and eloquenty performed.

Charles Panzéra – The Master of French Song

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One of the greatest interpreters of French song, Chalres Panzéra was actually Swiss, born in Geneva in 1896. Although he did perform in opera and was particularly renowned for his Pelléas, he became ever more in demand as a recitalist, especially for his performances of French song, and Fauré dedicated his last song cycle, L’horizon chimérique to him. His repertoire extended to Monteverdi, Lully, Schubert and Schumann and, included here is his recording of Dichterliebe with Alfred Cortot a highly individual accompanist at the piano. Panzéra was married to the pianist Magdaleine Baillot, and they had a long and fruitful partnership, all of the French songs on this disc beng accompanied by her.  Aside from the Dichterliebe, this disc includes complete performances of Fauré’s La bonne chanson, L’horizon chimérique and a selection of songs by Duparc.

After World War II, he taught at the Juilliard School in New York and at the Paris Conservatoire, and wrote invaluable works on the interpretation of French song.

He had a voice of great beauty, admirably firm and seamless from top to bottom, allied to a wonderful sensitivity and refinement of style, and many of his performances are deservedly considered classics. Everything he does sounds totally spontaneous and yet one knows the amount of care that has gone into each interpretion. This is surely the art that conceals art.

Both the Fauré cycles are superbly sung, as are the Duparc songs, though his wife’s spreading of the chords in Lamento won’t be to everyone’s taste. He totally avoids the tendency to over-sentimentalise a song like the Wagnerian inspired Extase and delivers a marvellously detailed but unselfconscious L’Invitation au voyage.

Panzéra’s German sounds as natural as his French and his recording of Duchterliebe has long been considered a classic, though Cortot’s playing is highly idiosycratic. It may not delve as deeply as some more recent versions by the likes of Fischer-Dieskau or Schreier, but it captures beautifully something of the essence of Schumann.

A wonderful disc well worth seeking out.

The Very Best of Lucia Popp

 

Lucia Popp, who tragically died of brain cancer at the age of 54, is one of those sopranos everyone seems to love, and with good reason. She had a winning personality, an immediately recognisable voice of great beauty and a rare gift for communication.

She made her debut at the age of 23, a light coloratura, singing roles such as the Queen of the Night, Blonde, Zerlina, Despina, Sophie, Oscar and Susanna, but by her 30s had moved on to the lyric repertoire and her roles would henceforth be Pamina, the Countess or the Marschallin. She was also active on the concert patform and was a superb recitalist, and this compilation, taken from her EMI recordings, is a good example of her work in all fields.

Disc 1 concentrates on works with orchestra starting with a lovely rendition of Rusalka’s Song to the Moon, taken from a 1988 recital of Slavonic Arias. She is ideal in the two Smetana arias too, but the Letter Scene from Eugene Onegin, which closes disc 1, ideally requires a fuller tone. One appreciates the fullness of heart nonetheless.

Gorgeous in every way are the exceprts from the Frühbeck de Burgos recording of Carmina Burana, no doubt the main reason many of us consider his recording a first choice for the work. I was lucky enough to hear Popp sing Strauss’s Vier letzte Lieder under Tennstedt at the Royal Festival Hall in the early 1980s and their 1982 recording has long been considered a top recommendation for the work, so it is good to have it here included in its entirety. A further reminder of their artistic collaboration is the inclusion of the fourth movement of Mahler’s Symphony no 4, where Popp strikes and ideal note of childlike innocence.

Disc 2 starts with some 1967 recordings of Handel and continues with Mozart, taken both from complete recordings and a 1983 recital, so we get examples of her Queen of the Night under Klemperer and her Pamina under Haitink (both often considered touch stones for the roles). I don’t know if she ever sang Donna Anna on stage and I’m not sure the voice would ever have been right for the role. None the less the line in Non mi dir is beautifully sustained and the coloratura section cleanly articulated in a way heavier voices don’t often achieve. The Schubert songs expose a slight lack of colour, and we note that she is better at expressing joy as in Die Forelle and An Sylvia than the drama inherent in Gretchen am Spinnrade. On the other hand that fullness of heart I spoke about earlier suits Strauss’s Zueignung to perfection.

If one were to find any other fault, it would be to note that her legato is not always perfect. She has a tendency to use what John Steane once referred to as the squeeze-box method of production, where each individual note is given a slight push which impedes the long legato line. One might also note that the voice lost some of its silvery purity in the later recordings. She was a considerable artist, nonetheless, and this compendium, which finishes with Popp letting her hair down in arias from Die lustige Witwe and Die Fledermaus can be considered to live up to its title.

Blow the Wind Southerly – The Art of Kathleen Ferrier

 

This 1997 compilation of recordings by Kathleen Ferrier was no doubt leveled at the popular Classic FM market. Not a whiff about the provenance of the various tracks, no texts or translations, nor a mention of the accompanists, amongst whom would be the illustrious name of Bruno Walter.

There is, however, a great deal of pleasure to be had from this hotch potch of songs and arias, even if it would seem that very little thought has gone into the programming.

Kathleen Ferrier died from cancer in 1953, at the age of 41 at the height of her career. She had made her operatic debut at Glyndebourne in 1946, creating the role of Lucretia in Britten’s The Rape of Lucretia and following it with that of Orfeo in Gluck’s Orfeo ed Euridice, a role with which she was particularly associated (and indeed there are two versions of Orpheus’s Lament included here, one in Italian and one in English). She also formed close associations with Sir John Barbirolli and Bruno Walter, who later wrote “I recognised with delight that here potentially was one of the greatest singers of our time.” A memento of their association is included here in a thrillingly intense version of Um Mitternacht from Mahler’s Rückert LIeder and of course most people will be aware of their great recording of Mahler’s Das Lied von der Erde.

Ferrier, a genuine contralto of the sort that seems to have gone out of fashion today, had a voice that one most associates with a grave solemnity, suited to such pieces as Have mercy, Lord, on me from Bach’s St Matthew Passion, but it could equally turn to gaiety and lightness, as it does here in such songs as Bridge’s Go not happy day and the traditional song I know where I am going, both delivered with perfect, natural, unforced diction, which never impedes her natural legato. I also particularly enjoy the beautiful Quilter songs, which we rarely hear these days.

The Handel and Bach items would get no points for authenticity today, but, if the style and voice might seem old-fashioned, her sincerity and gift for communication do not. Her singing has a way of going straight to the heart in a way that should never go out of fashion.

There are better representations of Ferrier’s art out there, but this one serves well as an introduction to a great singer, who died far too young.

Elisabeth Schwarzkopf – The Complete Recitals 1952 – 1974

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Issued to mark the one hundredth anniversary of Schwarzkopf’s birth in 2015, this fantastic 31 disc set brings together all the recital discs Schwarzkopf made in the LP age with her husband Walter Legge between the years 1952 and 1974, adding the live 1953 Wolf recital from Salzburg, with Furtwängler and the farewell to Gerlald Moore at the Royal Festival Hall in 1967, in which she shares the platform with Victoria De Los Angeles and Dietrich Fischer-Dieskau. It is a considerable achievement, covering operatic excerpts and a huge range of Lieder and song, both with orchestra and piano. It is not quite the full story, for their was to be one further recital to come, made for Decca in 1977 and 1979, and simply called To My Friends.

Schwarzkopf started out as a coloratura, singing roles such as Zerbinetta, Blonde and Sophie, but the voice was never entirely comfortable in the stratospheres, and she soon graduated from Sophie to the Marschallin, from Susanna to the Countess. A serious and dedicated artist, over the years she wittled down her operatic roles to a mere five (Mozart’s Countess, Donna Elvira and Fiordiligi and Strauss’s Marschallin and Countess Madeleine) so that she could concentrate on her recital work, which was her first love. The voice was not particularly large, but a warm, lyric soprano, shot through with laughter, her technique faultless and, though it lost something of its bloom in later years, it was always firm and true with no trace of excessive vibrato or wobble. She has been saddled for many years with the adjective ‘mannered’, but, listening to these CDs now, what I hear is incredible intelligence and specificity, a voice put at the service of the composer, not the other way round. People love to make fun of the fact that, when invited onto Desert Island Discs she picked all her own records, but, if you listen to the porgramme now, she uses them as illustrations of key points in her life. She was actually severely self-critical and those few records represented the best of herself and her collaborators, for she was quick to give credit to the conductors and accompanists she had worked with, and of course to her husband Walter Legge, who produced all her records. John Steane, who loved Schwarzkopf unreservedly, spent some time listening with her to her records in her retirement, and was surprised at how rarely a recording got her full stamp of approval. Listening sessions were interrupted by continuous cries of  “too much of this, too little of that. Intonation, missy” and so on, and just the occasional “ah yes, missy, that’s good”. In other words she was as hard on herself as she famously was on her students, who could find working with her frustrating, as she barely let them get a few bars out; but this was the only way she knew how to work herself, and what do teachers do other than pass on their experience to others?

There is a lot of music to get through here, though most of the CDs are rather short in length, being exact reissues of the LPs as they appeared, each in its own sleeve with the original artwork. The only cause for regret has nothing to do with the music or the music making, but with the fact that no texts and translations are included. This is a criminal omission with an artist like Scwharzkopf, who paid such attention to the words, colouring her voice to get the maximum amount of meaning from them. These days it should be easy to produce a weblink or CD-Rom with them all, and I’m guessing that most collectors wouldn’t mind paying a little extra just to have them. As it is, I am having to hang on to all my previous issuse of this material, simply to keep the texts.

So on to the actual discs and a potted review of each one.

Disc I. Schubert Song Recital with Edwin Fischer

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This is a classic recital, with Schwarzkopf’s voice at its freshest and loveliest, the lighter songs delivered with a delightful smile in the voice, the darker ones with an arresting sense of their dramatic potential. For instance, in Gretchen am Spinnrade the words sein Kuss are sung almost in horror, as Gretchen recalls the moment which sealed her destiny. Though always alert to the mood and meaning of the songs, however, there is also much that is admirable as pure singing, the legato superb, the line firmly held. Fischer is an estimable partner rather than just an accompanist. I particularly love the way he makes the piano accomaniment in Auf dem Wasser zu singen conjure up the image of moonlight bouncing off the water. A delight from beginning to end.

Disc 2. Mozart Operatic Arias

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Here accompanied by the Philharmonia Orchestra under John Pritchard (no Sir back then), Schwarzkopf sings a collection of arias from roles she did sang on stage as well as some she didn’t. Not many sopranos would attempt in the same recital arias for the Countess, Susanna and Cherubino or for Zerlina and Donna Anna, but, rare in Mozart, she brings a different voice character to each, all boyish eagerness as Cherubino, sensuous charm as Susanna, girlish seduction as Zerlina, who in turn sounds quite different from her Susanna,  and patrician elegance as the Countess. Her Donna Anna is not quite so successful, and of course we are reminded that her stage role was that of Donna Elvira, a role which she made very much her own, but Non mi dir is nonetheless delivered with a resigned sadness and the closing coloratura section rings out with real conviction. Illia’s Zeffiretti lusinghieri is altogether lovely.

Disc 3. Strauss Four Last Songs and Capriccio Closing Scene

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Through her two recordings , Schwarzkopf has always been associated with Strauss’s ever popular Vier letzte Lieder, though very few people can agree on which of the two recordings is the better. I tend to prefer the later one with Szell, both for the improved sound picture and Schwarzkopf’s more mature thoughts on the work, but both are superb, and this one benefits from her greater ease in the upper register. The closing scene from Capriccio, made before she had recorded the full opera under Sawallisch, is lovely in every way with the character superbly delineated and  the voice soaring out over the orchestra.

Disc 4. Strauss – Scenes from Arabella

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Staying with Strauss, these excerpts were recorded in 1954 and it always seems a pity to me that Legge didn’t record the whole opera. That said, the opera has its longeurs, for me anyway, and perhaps this is all that I really need. Schwarzkopf is perfectly cast as Arabella and is well contrasted with Annie Felbermeyer, who plays Zdenka here. Josef Metternich is a superb Mandryka, none better on disc, and the cast is fleshed out with such names as Nicolai Gedda as Matteo, Walter Berry as Lamoral and Murray Dickie as Elemer. Lovro von Matacic is much more in tune with Strauss’s medium than Solti on the roughly contemporaneous set with Lisa Della Casa, and, who knows, if this had been recorded complete, it may well have become the touchstone recording for all time.

Disc 5. A Lieder Recital

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Schwarzkopf returned to Lieder with piano for her next record, a mixed recital with Gerald Moore at the piano. It opens with Bist du bei mir (once attributed to Bach), and continues with mostly popular fare by Mozart, Beethoven, Schubert, Schumann, Brahms, Wolf and Strauss, with Schwarzkopf unerringly catching the mood of each song, whether it be the joyfully youthful exuberance of Schubert’s Ungeduld, or the wistful bliss of Schumann’s Der Nussbaum.

Disc 6. A Mozart Song Recital

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This Mozart recital with the great Walter Gieseking at the piano has deservedly achieved the classic status of the Schwarzkopf/Fischer Schubert recital. Recorded in 1955, it was recorded in stereo, and I put this down to the fact that Christopher Parker, who oversaw the stereo version of Der Rosenkavalier was the balance engineer. It was first issued in mono, and the stereo version emerged several years later.

It certainly deserves its classic status, as Schwarzkopf and Gieseking between them bring these simple songs to life as no other. I hear absolutely no artifice in the way Schwarzkopf characterises the songs, or in the way Gieseking mirrors his playing to her tone, making much more of the sometimes plain accompaniments than you would think was possible. They also manage to vary the approach to individual verses in strophic songs in a way which sounds completely natural. This is a wonderful disc.

Disc 7. A Recital of Duets by Monteverdi, Carissimi and Dvorak.

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Okay, so the Monteverdi and Carissimi duets are hardly authentic, but I can’t imagine anyone other than the most ascetic HIP advocate complaining when the singing is so beautiful, the voices charmingly intertwining and blending in delicious pleasure.

Schwarzkopf and Seefried had sung together on many occasions, and had already made duet recordings of the Presentation of the Silver Rose from Der Rosenkavalier (Schwarzkopf as Sophie, Seefried as Octavian) and excerpts from Hänsel und Gretel. Schwarzkopf was a huge admirer of Seefried, at one time stating that Seefried had naturally what others, including herself, had to work hard to achieve. Seefried’s slightly darker, more mezzoish timbre blended perfectly with Schwarzkopf’s brighter tone. The result is a winning combination, not only in the Dvorak duets that you would expect would suit them, but in the baroque items too, with Gerald Moore providing alert, lively support on the piano.

Disc 8. Walton – Scenes from Troilus and Cressida

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Walton didn’t have much luck with casting for his opera Troilus and Cressida. He had originally wanted Callas for the role of Cressida, but Callas had no interest in contemporary opera and so he offered the role to Schwarzkopf, who was slated to sing in the UK premiere, but she too decided against it, and the role finally went to the Hungarian Magda Laszlo, who spoke no English at all. Scwharzkopf did however record these excerpts with Richard Lewis, the Troilus of the original production, a few months after its premiere.

It is a great pity that she decided not to sing the role, for she fills its soaringly lyrical vocal line with glorious refulgent tone. Her English is clear, if slightly accented, and the recording is a fine memento of what might have been.

Disc 9. Songs You Love

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This 1956 recital is a collection of popular songs of the type that might normally crop up as encores in a recital programme, starting with Quilter’s arrangement of Drink to me only with thine eyes, and continuing with pops by Hahn, Dvorak, Tchaikovsky and Grieg, all much more well known back then than they are now, no doubt. Singing in English, French and German, Schwarzkopf brings as much care to them as she does to the Lieder of Wolf. A lovely disc.

Disc 10. More Songs You Love

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This disc turns out to be the one more commonly known as The Elisabeth Schwarzkopf Christmas Album. This time she is accompanied by the Ambrosian Singers and the Philharmonia Orchestra under Sir Charles Mackerras in often gorgeously over the top arrangements of traditional Chiristmas carols and songs, though the disc starts gently with the original arrangement of Gruber’s popular Stille Nacht, on which Schwarzkopf is double tracked to duet with herself. Some might find it all a bit too sugary, but I love it and it has been a permanent part of my Christmas playlist for many years now.

Disc 11. Elisabeth Schwarzkopf Sings Operetta

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And so to one of the first Schwarzkopf discs I owned, arguably the greatest disc of operetta arias ever recorded, and pure unalloyed joy from beginning to end. Schwarzkopf may have been born in what is now part of Poland and brought up in Germany, but there is something absolutely echt Viennese about her singing of operetta, and her recordings of operettas by Strauss and Lehár remain touchstones against which all others are judged. Schwarzkopf makes no concessions to the material and sings with her customary attention to detail, but there is absolutely no suspician of artifice or over-inflection and the disc is guaranteed to lift the spirits of all but the most curmudgeonly.

Disc 12, 13 & 14. Hugo Wolf – Goethe Lieder, From the Italian Song Book, From the Romantic Poets

 

Schwarzkopf followed three discs of lighter fare with three discs of Wolf Lieder. The discs are quite short and all the material was reissued at one time on a two disc set in EMI’s Great Recordings of the Century series, and deservedly so. I would urge anyone who gets the present box set to also acquire the GRC release, as that comes with fuill notes, texts and translations, absolutely essential when listening to Wolf, especially in performances as finely nuanced and detailed as these. Schwarzkopf’s name, along with that of Fischer-Dieskau, has been indelibly associated with the songs of Hugo Wolf, and they, more than any other singers, were responsible for bringing Wolf’s name to prominence after the Second World War.

Schwarzkopf’s ability to sing with a sparkling eye and a smile in the voice is particularly suited to Wolf’s lighter songs, but she also has the pathos for the Mignon songs, and her yearningly intense performance of Kennst du das Land is arguably the greatest performance of a Wolf song committed to disc. At almost seven minutes it is the longest song on these three discs, and Schwarzkopf and Gerald Moore build the intensity in masterly fashion, using every colour at her disposal to convey every shade of meaning. Some might say that this attention to detail robs the performances of spontaneity, but I’d disagree. Though obviously thoroughly worked out in rehearsal, Schwarzkopf still experiences the song as it happens. Never have the words “mannered” and “arty” been so off the mark. Would that more singers today could sing with such attention to detail.

Disc 15. Schwarzkopf portrays Romantic Heroines

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Schwarzkopf never sang any of the three roles represented here, but there is no doubt she could have done. She makes a superb Elisabeth, greeting the Hall of Song in joyful radiance, sincerely sorrowful in the prayer, the tone pure and ideally floated. The two excerpts from Lohengrin are just as desirable, and here she is joined by Christa Ludwig, whose Ortrud is well known from the complete Kempe recording, where Elsa is sung by the wonderful Elisabeth Grümmer. There is no higher praise in stating that Schwarzkopf is her equal in every way. So she is too in Agathe’s solos from Der Freischütz, which have a beauty and poise rarely achieved. This is a glorious disc.

Disc 16. Favourite Scenes and Arias

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Though Schwarzkopf sang Mimi early in her career, she didn’t sing any of the other roles featured on this disc. We don’t really associate her with Italian opera, though she made two excellent recordings of the Verdi Requiem and was an infectiously high spirited Alice in Falstaff. She might have made an excellent Desdemona too, if this scene is anything to go by, floating the tone ideally in the Ave Maria and alive to Desdemona’s anxiety and foreboding in the Willow Song. Her Lauretta is all youthful charm and her Mimi lovely in every way. The Smetana and Tchaikovsky are both sung in German. She is radiant in Marenka’s solo and, if Tatyana’s Letter Scene misses something of the girl’s impetuosity, the slow section has a satisfyingly inward quality.

Disc 17. Strauss – Four Last Songs and Five Other Songs with Orchestra

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This is one of the most famous records Schwarzkopf ever made and has remained a best seller ever since its first release. I’ve had it in one form or another since my teens, and, though I’ve listened to countless other versions of the Four Last Songs, and come to love quite a few of them, it is still the one I hear in my mind’s ear whenever I think of Strauss’s great apotheosis to the soprano voice. Schwarzkopf and Szell remind us that these are, after all, Lieder and not merely vocalises. They probe more deeply into the valedictory nature of the songs than any other I know, and the recording has a rich autumnal glow, eminently suited to their approach. In the last song, when Schwarzkopf sings So tief im Abendrot the effect is of a cathartic release, as if the whole cycle had been leading up to that moment. I don’t hear that in any other performance, and for this reason, Schwarzkopf/Szell still, for me, eclipse all competition. The other five songs are hardly less fine. A desert island disc if ever there were one.

Disc 18. Concert Arias and Lieder

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No doubt the success of their Berlin recording of the Four Last Songs prompted Szell to take Schwarzkopf and Szell back into the studio, this time in London with the London Symphony Orchestra. The first side of the LP was devoted to Mozart concert arias and the second to Strauss Lieder, the two cornerstones of Schwarzkopf’s work with orchestra. For Ch’io mi scordi di te she is joined by Alfred Brendel for the piano obbligato, the two artists intertwining their voices deliciously in duet, and she brings her familiar virtues of aristocratic phrasing and dramatic involvement to each aria. Schwarzkopf had her misgivings about the Mozart items, feeling that, though they are musicaly fine, the voice had darkened too much for Mozart. Maybe she has a point, but I’ll put up with the less youthful voice for the dramatic insights she brings to them. The Strauss songs are all gorgeous and wonderfully characterised, the turbulence of Ruhe, meine Seele contrasting immediately with the gently lulling tone of Meinem Kinde, and so on. For Morgen, she is joined by Edith Peinemann on the violin.

Disc 19. Mahler – Des Knaben Wunderhorn

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This was recorded and released before the Mozart/Strauss disc, which made me realise the discs aren’t numbered chronologically. No matter, it has been considered a classic since its release in 1968. Like the Four Last Songs, I’ve owned it since my college days, and it brings back memories of listening in my tiny room in student digs all those years ago. Some feel that the interpretations are too sophisticated for the essential folk-nature of the songs, but I’d argue that Mahler’s wonderful orchestrations, superbly rendered here by Szell and the London Symphony Orchestra, already take them quite a few steps from their folk song roots.

Personally, I marvel at the intelligence, the detail and the sheer beauty of the singing. In comparison others sound just too penny plain. Is it interventionist interpretation? Well, I suppose it depends on how you look at it, but everything these superb artists find is there in the music, if you take the time to look for it. It’s also a real collaboration between all three artists, the duet songs being some of the highlights of the set.

Disc 20. Wolf – Italienisches Liederbuch

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This was originally a two disc set, recorded at sessions in Berlin in 1965, 1966 and 1967, Schwarzkopf re-recording all the songs she had recorded back in 1959. With the two foremost Wolf interpeters of the day accompanied by Gerald Moore it is self-recommending, and remains the set by which all others are judged.

The songs are presented in the order they appear in the book, which really is the best way of doing them, and are mined for every shade of meaning by these two great artists, with the inestimable aid of Gerald Moore at the piano.

Discs 21 & 22 – Brahms – Deutsche Volkslieder

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Before anyone starts complaining of too much sophistication, one should point out that these are not really folk songs at all. Many were inventions of nineteenth century composers, and, in any case, Brahms’s accompaniments turn them into songs by himself. That said, the songs are probably best listened to piecemeal, rather than at one sitting, when they could be said to outstay their welcome.

Schwarzkopf and Fischer-Dieskau bring their familiar virtues of dramatic involvement and characterisation to the songs, and, though some may find their interventionist approach “mannered”, I prefer it to the somewhat penny plain singing we get from so many interpreters these days.

Discs 23 – 26 The Elisabeth Schwarzkopf Songbook Vols 1 – 4

 

The first of these discs collected together recordings made in 1957, 1958 and 1962 and was issued in 1966. Presumably the intention was to find a home for performances that had not otherwise found their way onto disc, and no doubt the success of the record prompted Legge and Schwarzkopf to put together three more discs in the same manner. It should be noted that Gerald Moore retired from the public platform in 1967 and, aside from a few tracks that were recorded before then, Geoffrey Parsons is the accompanist on volumes 2-4.

The programmes ranged wide. In addition to the more regularly encountered Schubert, Schumann and Wolf, they take in songs by Mozart, Mahler, Brahms, Strauss and Loewe, Debussy, Chopin and Liszt, Rachmaninov, Tchaikovsky, Mussorgsky and Stravinsky, Grieg and Wolf-Ferrari, though the Russian songs are sung in English or German translation.

Disc 27. Songs I Love

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Recorded at sessions in 1970 and 1973, with Geoffrey Parsons at the piano, this was, in all but name, another addition to the Songbook series, though this time concentrating on the two cornerstones of Schwarzkopf’s Lieder repertoire, Schubert and Wolf, with the addition of Schumann’s Der Nussbaum, revisiting material that she had recorded before. Though her artistry remains undimmed, we begin to be aware that this is no longer the voice of a young woman. Still there are rewards to be had in hearing how Schwarzkopf’s ideas on certain songs changed over the years, and we note that each new version is a re-thinking of what she had done before. There is never any suspicion of routine.

Disc 28.  Schumann – Frauenliebe und Leben & LIederkreis, Op.39

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This was Schwarzkopf’s last record for EMI, and she herself had her doubts. Ever the realist and her own strictest critic, she was well aware of the diminution of her vocal powers. In fact, had it not been for Legge urging her on, she would probably have retired sooner. “My voice was on the waning side, and all kinds of muscular powers had gone, and the breathing had gone. You can hear that the voice was getting old, surely. And one doesn’t like that and one tries to make do with all kinds of funny vowels, and oh dear it is really an awful thing.” She was particularly unhappy with Frauenliebe und Leben, which she felt should, in any case, be sung by a mezzo. “I made up by darkening the colour and all sorts of things.”

Of the two cycles, the Liederkreis is the more successful, but no amount of intelligent interpretation can disguise the fact that the voice is not what it was. Her final record was made for Decca a couple of years later, Legge’s rift with EMI being by this time complete. Legge died in 1979, and Schwarzkopf abruptly cancelled all further engagements. Without Legge’s constant encouragement, she was unprepared to continue. “He thought there woud be some moments which would be more memorable. But if you don’t have the voice you cannot put over what you would like to – you make ways round it technically, and by that time it has already vanished.”

Disc 29. A Hugo Wolf Recital

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For Disc 29 we go back almost to the beginning – a recording of a live all Wolf recital given in Salzburg in 1953, which was first released in 1968.

This was quite an occasion and something that Furtwängler himself had suggested. Wolf’s piano parts can be fiendishly difficult, and he apparently practiced hard for the occasion. There are some wrong notes, and some wrong entries here and there, “but it doesn’t matter. Furtwängler accompanying was an event, and so one had to do what one could to make it possibe. It was a service to Wolf, and to music, and a labour of love, that recital. With any other accompanist it matters if he cannot achieve the right tempi, but with Furtwängler it didn’t matter.”

Discs 30 & 31 – Homage to Gerald Moore

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The final two discs in the box are given over to the concert in February 1967, at which the musical world, with the aid of his three most regular collaborators, said goodbye to Gerald Moore. There are duets and trios, and each of the singers gets their solo spot, for Fischer-Dieskau a group of Schubert songs, for De Los Angeles a group of Brahms, and for Schwarzkopf, inevitably, a group of Wolf songs, starting with the song she made so much her own, Kennst du das Land. It is a joyous occasion, and the audience evidently enjoyed themselves enormously. It ends with Moore’s own solo arrangement of Schubert’s An die Musik, which is also a fitting end to this whole enterprise. However Warner have tacked on Schwarzkopf’s renditions of Abscheulicher! from Fidelio and Ah, perfido, which originally appeared as fill-ups for Karajan’s Philharmonia set of the Beethoven symphonies. Leonore may not have been a role for Schwarzkopf but her rendition of the big scena is surprisingly successful, the slow section having a wonderful innigkeit. She is immeasurably helped by Dennis Brain’s superb horn playing.

What a joy it has been listening to these thirty-one discs, all of such  consistent high quality. The word “mannered” has been overused to describe the art of Elisabeth Schwarzkopf, but, having listened to her almost exclusively over the last few weeks, it seems a long way short of the mark. I hear a singer who characterises, who makes choices based on the music and the text, who is never bland or merely pretty, though she can also make ravishing sounds, and these records represent an incredible achievement by one of the greatest singers of the twentieth century.