Thomas Quasthoff is one of the major artists of our
time, and this recital, gathering material over a ten year period, confirms
his stature in variety of pieces from the central German repertory.
Quasthoff has exemplary control and commanding tone,
combined with the ability to colour his voice as required. His performances
never fail to give the impression of intelligent careful preparation,
and he is therefore particularly adept in the field of lieder singing.
The Schubert and Schumann examples are therefore the
highlight of this excellent recital. I have never heard Erlkönig
sound so compellingly urgent, so keenly articulated. The other songs
benefit from his sure sense of legato, the only caveat being whether
it might have been preferable to have some different songs, rather than
these culled from within sets conceived by the composer as cohesive
cycles.
The Bach performances are hardly less impressive. This
marvellous music has a deeply felt quality, which is immeasurably enhanced
by the rich sonority of Quasthoff's vocal tone. In Mozart the collection
features a variety of roles and styles, and this inevitably raises questions
of characterisation. For example, he features as both Don Giovanni and
Leporello, but he seems more at home as the former. As Papageno he is
fortunate to be joined by Montserrat Caballé, no less, as his
Papagena.
Taking the role of the minister Don Ferrando in the
closing scene of Fidelio, conducted by Sir Colin Davis, Quasthoff both
leads the way and commands the ensemble, which seems entirely right
for the dramatic situation. For this is generally a commanding compilation,
produced to high standards.
Terry Barfoot
Thomas Quasthoff
(baritone)