Really, the only possible criticism
of the whole enterprise is that the
subtitle – “Fantasies and dream-figures”
– might have been blazoned on the front
instead in smallish letters on the back.
As a critic I tend to bypass the presentational
material until I have heard the disc
at least once – others need not take
this precaution – and it began to dawn
on me after about four songs that this
was a weird if fascinatingly compulsive
selection: Schubert in menacingly dramatic
mood, the piano evoking grey, swirling
mists, the voice pungently expressive.
It is as though one stepped into the
National Gallery and, without noticing
that there was a special exhibition
on entitled “Fantasies and dream-figures”,
found oneself confronted with, in place
of the usual generalized trip around
the art-world, a progression of grotesque
figures starting with Bosch and working
through Füssli and Dadd to arrive at,
maybe, some Kollwitz etchings (which
could be a rough pictorial equivalent
of the Berg).
Of course, once I realized what was
happening it all fitted into place and
I must say that, by hearing a concentration
of a certain type of Schubert subject-matter
which we more often hear mixed in with
completely different ones, it struck
me that “night and dreams” have a more
important role in Schubert’s work than
it often appears. It’s quite revealing
to hear a selection which deliberately
avoids images of the lonely wanderer
among gentle brooks and spring pastures.
“ Night and Dreams”, of course, is one
of Schubert’s most famous songs, and
the inclusion of this and “Erlkönig”
allows us to have full measure of a
quite remarkable singer-interpreter.
I don’t honestly remember ever having
heard a woman sing “Erlkönig” before,
though I suppose some must have, and
in view of the three voices plus narrator
required I don’t see how any voice-type
can be a priori righter or wronger
than others. In the event, it is a fearsome,
menacing ride; Stotijn manages three
quite distinct timbres for the stern,
uncomprehending father, the pleading
child and the wheedling, coaxing Erlkönig.
She is also fortunate in a pianist who
is magnificently in control of the mounting
excitement and doom.
Yet “Nacht und Träume” is perhaps a
greater challenge still, and it is a
challenge met with a perfectly controlled
long line. The real difficulty here,
however, is not just one of breath control
– the piece isn’t entitled “Vocalise”!
– but one of the proper balance between
words and line. All too easily, the
words can either get lost or get in
the way. Stotijn proves to have mastered
totally this aspect of the lieder-singer’s
art, producing a long-spun line in which
words flicker to the surface like wavelets
on a moonlit sea. Turning to the recording
by Dame Janet Baker (EMI) only reinforced
the impression that here we have something
very special indeed; Dame Janet draws
the song out no end (4:34 as compared
with 3:35) and is less impressive precisely
because she is so obviously intending
to impress.
Comparison with Dame Janet is rather
invited since she is listed - together
with Udo Reinemann and Jard van Nes
- as one of Stotijn’s voice coaches.
I must say I can’t imagine two more
different singers, Stotijn impulsive
and spontaneous where Baker is controlled
and regal, achieving communication through
inner tensions. I had Baker comparisons
for two others of these songs, and here
again I found myself preferring Stotijn.
In “Abendstern” Stotijn is so natural
in her placing of the words; with Baker,
that characteristic “spelling it out”
of the first three notes of each phrase,
a habit she perhaps inherited from Ferrier,
does seem fussy and obsessively regal
– you can almost see the diadem glinting
as she metes out justice to each syllable.
In “Auflösung” Baker is again overbearing
where Stotijn’s almost expressionist
delivery – notably in the last line
– ends up by impressing more. This song
also reveals another chink in Baker’s
armoury. As she became increasingly
obsessed with making herself a mezzo-soprano
when her early Saga records and her
“Sea Pictures” surely prove that nature
made her a contralto, she had a tendency
to choose keys at least a semitone higher
than she needed. So if Stotijn is free
to concentrate on characterization,
it is also because she does not have
to concentrate on bringing off a vocal
feat. Yes, of course Dame Janet was
a great singer but hers was not the
only way and here is the proof of it.
I must say that, in these last two songs,
it was also a pleasure to remind myself
of Christiane Iven’s recital as part
of the ongoing Naxos survey (see review)
– a refreshingly musical alternative
if you are in the mood for something
less interventionist yet still full
of innate feeling.
I made a few comparisons in the Wolf
group with Joan Rodgers in the fairly
recent Hyperion complete Mörike-Lieder;
shared with Stephan Genz. In “Elfenlied”
Rodgers has a tripping delicacy that
is a pleasure in itself. Stotijn’s opening
line is menacing and she thereafter
uses a slower tempo to create a very
sinister picture indeed. Both singers
are well able to spin a long, warm line
in “Um Mitternacht”, but it is Stotijn
who is more successful in inserting
the words into this line.
Altogether, then, we have a highly original
programme sung by an up-and-coming singer
who can bear comparison with even the
greatest lieder-singers. She is furthermore
blessed by a pianist who seems to share
her imagination and freedom of spirit.
And, in a world where the majors are
cutting costs in every possible way,
Onyx give us the full product with complete
texts and English translations. The
excellent note by Joanna Wyld is also
translated into French.
I would end by invoking the name of
Janet Baker for another reason. About
forty years ago, Saga issued an LP of
lieder - now available on Regis - which
proclaimed beyond any doubt that a great
singer was in our midst. I venture to
suggest that, forty years hence, people
will be looking back on this first Onyx
issue in the same way.
Christopher Howell
Visit
the ONYX Catalogue
Christianne
Stotijn (mezzo), Joseph Breinl (piano) 
