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Franz SCHUBERT (1797-1828) Lieder
An den Mond, D193 (1815) [3.12]
Suleika I, D720 (1821) [5.25]
Im Abendrot, D799 (1825) [3.55]
Sei mir gegrüßt, D741 (1822) [4.16]
Die Forelle, D550 (1817) [2.09]
Heimliches Lieben, D922 (1827) [4.39]
Der Sänger am Felsen, D482 (18160 [3.39]
Thekla: eine Geisterstimme, D595 (1817) [5:54]
An die Sonne, D270 (1815) [3.00]
Aus “Diego Manzanares”: Ilmerine, D458 (1816) [0.57]
Nacht und Träume, D827 (1823) [4.01]
Frühlingsglaube, D686 (1820) [3:17]
Die Blumesprache, D519 (1817) [2.08]
Nähe des Geliebten, D162 (1815) [3.53]
An die Nachtigall, D497 (1816) [1.28]
Liane, D298 (1815) [3.09]
Des Mädchens Klage, D191 (1815) [3.46]
Nachtviolen, D752, [3.05]
Marie, D658 (1819), [1.50]
Lambertine, D301 (1815), [3.25]
Die Männer sind méchant, D866/3, (1828) [2.29]
Elizabeth
Watts (soprano); Roger Vignoles (piano)
rec. Potton Hall, Suffolk, U.K., 18-20 May 2008 RCA RED SEAL 88697 329322 [69.42]
You
have to go looking for the famous RCA red seal on the outside
of this CD, which is a pity, as it is an attractively produced
disc with an eye-catching photo of the singer on the front.
Elizabeth Watts, who was born in 1979, was a student of
archaeology before joining the Benjamin Britten International
Opera School at the Royal College of Music in 2002. Awards
and honours followed, among the most recent of which was
to be selected as a BBC Radio 3 New Generation Artist.
She has a wide experience of the operatic stage, and here
she is now in the recital room.
She
has a most pleasing soprano voice, clean and bright but
without the slightest hint of shrillness. Her control of
line is exemplary, her tuning faultless, and to get my
one gripe out of the way now, listeners will decide if,
like me, they are resistant to the extended sibilants at
the quiet ends of phrases in, for example, Sei mir gegrüsst – not,
in any case, my favourite Schubert song.
Miss
Watts. has chosen a Schubert series perfectly attuned to
her vocal qualities, and perhaps, also, to her temperament.
In the very first song, the well-known An den Mond,
listen how subtly she reveals the difference in mood between
wistful sadness as the poet invites the moon to shine down
into the forest where he last saw his beloved, and the
more excitable middle verses. A comparison with Elly Ameling,
on Hyperion, might seem like going in at the deep end,
but it is by no means disadvantageous to the younger singer,
even if Ameling’s exquisite control of tempo and rubato
does bring with it just a touch more pathos when the opening
mood returns for the final verse. I thought Liane was
new to me until I discovered it, also in Elly Ameling’s
Hyperion recital. Miss Watts’ performance of this beautiful
and, I believe, rather neglected song is in every way equal
to that of her distinguished colleague.
The
recital is an interesting mix of well-known and lesser-known
Schubert songs. Die Blumensprache, for example,
charmingly sung here, is a lovely song set to a poem relating
how things which humans find difficult to say, sweet and
gentle things as well as dark and tragic ones, are more
easily communicated by flowers. This song was also new
to me, but Nähe des Geliebten was not. I got to
know this in the first volume of the Hyperion series, sung
by Janet Baker. Hers is a more passionate performance than
Elizabeth Watts’, who sees it as altogether more tranquil
and reflective. Both views are equally valid, of course,
and Elizabeth Watts sings the song as beautifully as she
sings everything else on this lovely disc. All the same,
I prefer Janet Baker’s view. The beloved, who is far away,
is evoked, verse by verse, by thought (“I think of you”),
by sight (“I see you”) and by the sound of his voice. The
final verse, despite the lovers’ distant separation, begins “I
am with you, though you are so far…” The sentiments are
simple ones, simply and directly expressed in Goethe’s
words. Though the song is strophic, the introduction is
heard only once. Hilary Finch, in the excellent accompanying
note, writes that this “magically evokes, in harmonic terms,
a sense of movement from long distance to immediate presence…” Quite
so. But to that let us add what Graham Johnson writes in
the Hyperion booklet. “…with each change of chord we perceive
the opening of a loving heart, the unfolding realisation
of a deep devotion.” Schubert was eighteen when he conjured
up this small miracle, which is why I prefer the youthful
impetuousness of Janet Baker to the calm wisdom of Elizabeth
Watts. Another beautiful performance where Elizabeth Watts
finds herself in direct comparison with Baker is Heimliches
Lieben, and here again it is Baker, on her Saga disc
from the 1960s, who is the more enraptured.
Elizabeth
Watts is masterly in Thekla, where Schiller has
the ghostly voice describe what happens in the next world.
No tears are shed there, and all share the same fate. Schubert’s
music is cold but not indifferent, disembodied but not
make-believe. It is a further example of his uncanny ability
to enter into the spirit of a poem and complement it, even
a poem, such as this one, to which one would have thought
nothing could be added. The singer beautifully controls
the long, high-lying phrases of this masterpiece. She is
just as successful in The Trout, where the playful,
idyllic scene becomes one of blood and death, albeit, with
the composer’s impeccable understanding, contained within
the limits of a little story and a little song.
She
subtly evokes the inward, rather rarefied atmosphere required
to summon up the poet’s feelings as he gazes on a flower
in Nachtviolen. And with An die Sonne we
have something quite special, an exquisite performance
of an exquisite song. Dynamics are wonderfully observed
and executed, intonation and breath control impeccable.
In addition, Roger Vignoles accompanies with acute sensitivity,
as he also does in Im Abendrot, a perfect example
of the art of the master accompanist. He sticks to his
singer like glue, of course, but he seems in an uncanny
way to be able to anticipate what she is about to do, their
music-making a true collaboration. He is totally at one
with the singer, entering not only into the spirit of the
composer and the song, but also into the very essence of
the singer’s view of it. This is truly masterly playing.
There
is not a single performance on this disc which would not
solicit a favourable response from any sensitive listener.
With singing of this quality direct comparisons are irrelevant,
and indeed I wonder at the usefulness of indulging in those
above. Only on listening to the disc as a whole, one song
after the other, does one wonder if there isn’t a certain
uniformity of expression, that perhaps there is a little
more characterisation to be found here and there in individual
songs. But I think this is also to do with the choice of
repertoire, which concentrates on the more inward, lyrical
side of Schubert’s inspiration. And in any event I don’t
think listening to twenty-one Schubert songs one after
the other is a good idea. Far better to pick and choose,
three or four, or five, or six. Whichever of Elizabeth
Watts’ performances you choose your pleasure is guaranteed.
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