The
booklet for this issue offers no information about the singer.
Not so long ago I reviewed the Loewe’s Passion Oratorio
(see review)
on Naxos where Christianne Stotijn was one of the soloists.
There I found a short bio, unfortunately with her name misspelt,
from which I learn that she was born in 1977 in the Netherlands,
studied violin at the Amsterdam Conservatorium, “where she was
awarded the Prix d’Excellence in 2000”. She also studied singing
with Udo Reinemann from 1997 and has appeared in Europe and
the US, singing oratorios, lieder and operatic roles. In my
Loewe review I wrote: “Contralto Christianne Stotjin is equipped
with a big vibrant voice; at first I thought it was a size too
large and unwieldy with a vibrato one expects from a well-versed
Wagnerian mezzo but it turned out after a while that the voice
was under control and once she had settled she sang her part
with feeling.”
This
verdict could also be applied to her singing on the present
disc. However there are caveats. It is a big voice and
in the more dramatic outbursts in these Mahler songs it can
be almost overwhelming. At these points it takes on a shrill
metallic quality that is thrilling but somewhat unsubtle. It
turns out however, as Mahlerians already know, that a large
proportion of these songs are quiet and lyrical. Here she scales
down her instrument accordingly and sings with sincerity and
warmth; much of her soft singing is truly beautiful. Ich
ging mit Lust (tr. 9), an old favourite of mine, is exquisitely
done, some discolouring of the voice near the end apart. Urlicht
(tr. 12) is also inward and concentrated. In Ich bin der
Welt (tr. 15) she comes close to a whisper at “Ich bin gestorben
dem Weltgetümmel” – not far behind the famous Janet Baker recording
in feeling.
Generally
speaking she is good at characterising, making a dramatic scene
of Des Antonius von Padua Fischpredigt (tr. 11). Um
Mitternacht (tr. 14) is involved and deeply felt. The intensity
with which she delivers “O Menschheit, deiner Leiden” goes directly
to the heart. The final lines “Herr! über Tod und Leben/Du hältst
die Wacht/Um Mitternacht” are sung with a power and pain to
challenge even Brigitte Fassbaender’s unique reading. Not everything
here is on the same exalted level but there’s quite enough to
make this a worthy addition to one’s collection.
A
very important factor contributing to the success of this disc
is the quality of Julius Drake’s accompaniment. He is at all
times pliable and observant. On his own he makes little masterpieces
of the introductions or interludes. The opening to Wo die
schönen Trompeten blasen (tr. 5) finds him grading the dynamics
to perfection with a delicate touch. His more dramatic talent
can also be savoured, for instance in Des Antonius von Padua
(tr. 11) and maybe even more so in the ominous accompaniment
to Das Irdische Leben (tr. 13).
The
programme is largely presented chronologically. The first two
songs are to texts by Richard Leander and the last two are well-known
Rückert settings written more than twenty years after the Leander
songs. Between these poles are eleven songs using texts from
Des Knaben Wunderhorn, the anthology of German folk songs.
This was published by Clemens von Brentano and Achim von Arnim
at the dawn of the Romantic era in the beginning of the 19th
century.
The
sound on this disc is well balanced, rightly giving the pianist,
more prominence than in many recordings that highlight the singer.
The acoustics of The Menuhin Hall are agreeable. This is in
fact the first recording to be made in this venue. The booklet
has an essay by the Director of the Dutch Mahler Society, Eveline
Nikkels. The song texts, with English translations, are printed.
There
are some vocally uneasy moments here
and it is to be hoped that Ms Stotijn
will be able to polish her impressive
instrument further. On this hearing
she is already a highly accomplished
lieder interpreter who has obviously
thought herself into these songs. She
is accompanied by one of the very best
in ‘the trade’.
Göran Forsling
Visit
the ONYX Catalogue
Christianne Stotijn
(mezzo), Julius Drake (piano) 
