One of the most grown-up review sites around

Apollo's Fire

Search MusicWeb Here

     
  
 

 

International mailing


  Founder: Len Mullenger             Senior Editor: John Quinn               Contact Seen and Heard here  

Some items
to consider

Brahms Symphony 4 Dvorak Symphony 9
Peter Aronsky (piano) Les DÚlices du Piano"
IL Carnevale di Venezia Clarinet with orchestra

Sinfonie Concertanti for two flutes and orchestra

TUDOR RECORDS

TROUBADISC

A most rewarding CD
Renate Eggebrecht violin

NORTHERN FLOWERS

World Premiere
Weinberg’s Concertino (cello)!

AVIE

Irish-Appalachian Celebration

REFERENCE RECORDINGS

Nick Barnard review
Michael Cookson review



an inspirational performance


An indispensable acquisition


The finest we have had in years


bewitching sound


Simply amazing


A splendid addition


One of the most enjoyable


quite superb!


utterly essential


A wonderful introduction


An outstanding CD


cheer-raising


One of the finest versions

RECORDING OF THE MONTH

Support us financially by purchasing this from

Thousands of Miles
Kate Lindsey (mezzo-soprano)
Baptiste Trotignon (piano & arrangements)
rec. 2016, Teldex Studio, Berlin
Sung texts with French, German and English translations enclosed
ALPHA CLASSICS 272 [63:45]

Hard on the heels of Dagmar Peckova’s all-Weill disc (review) comes this mixed recital which includes ten Weill songs, half of which also was found of Peckova’s disc. But the differences are far-flung. Peckova was backed up by orchestral forces, often in colourful arrangements. Here Baptiste Trotignon’s piano and his own arrangements lend the music a more chamber-size quality. Moreover the accompaniments are harmonically distanced from Weill’s originals – and highly fascinating at that. Being primarily a jazz pianist he also improvises. Kate Lindsey, noted opera singer, appearing at many of the world’s greatest opera houses, is also an exceptional artist. She has a classy, vibrant and beautiful voice capable of myriads of nuances and expressions. Just listen to the juxtaposition of Pirate Jenny and Barbara Song from The Threepenny Opera, where she is brutally guttural in the beginning and then ethereally fine-tuned. Generally she has an utterly personal approach to the songs that keeps you constantly glued to her readings. Her interpretation of Alma Mahler’s Hymne is far from orthodox but conveys new insights in a song you thought you knew. Weill’s Je ne t’aime pas also has a strongly personal touch and Trotignon improvises a fascinating interlude before the end of the song.

Korngold’s Schneegl÷ckchen from Six Simple Songs is no doubt indebted to Richard Strauss, but it is a fine song and he was barely teenager when he wrote it. A truly wonderful song is Alma Mahler’s Die stille Stadt and Kate Lindsey makes you listen to it with new ears. The other Korngold song, Mond, so gehst du wieder auf from Lieder des Abschieds is a more mature composer, contemporaneous with his opera Die tote Stadt. It’s deeply emotional and Kate Lindsey’s pianissimo singing is so magical!

Back to Kurt Weill Kate Lindsey and Baptiste Trotignon treat us to a bluesy juxtaposition of two numbers from Weill’s American opera Street Scene from 1946, and another mixture combines Buddy on the Nightshift from 1942 with Berlin im Licht from 1927. A number from the opera Rise and Fall of the City of Mahagonny (1930) – Denn wie man sich bettet, so liegt man – amply demonstrates her way of lingering over a phrase and make it memorable – and here she employs a typical Brecht-voice in the tradition of Sonja Kehler or Gisela May.

The concluding songs by Alexander von Zemlinsky are also masterly – as compositions as well as interpretations. In the first, Und hat der Tag all seine Qual, there is a moment when she at „dann ÷ffnet Nacht den Himmelssaal“ turns the phrase to magic and wrings every drop of emotion out of the music. Kate Lindsey has not one voice, she has different voices for each particular situation and she judges every situation with the utmost care. The interplay with Baptiste Trotignon is also magical. This is a recital to return to over and over again and find new insights and revelations every time.

G÷ran Forsling

Previous review: Ian Lace (Recording of the Month)
 
Contents
Kurt WEILL (1900 – 1950)
1. Nanna’s Lied [3:24]
2. Pirate Jenny – Barbara Song (from The Threepenny Opera) [4:23]
3. Trouble Man (from Lost in the Stars) [3:35]
Alma MAHLER (1879 – 1964)
4. Hymne [5:19]
Kurt WEILL
5. Je ne t’aime pas [4:42]
6. Thousands of Miles – Big Mole (from Lost in the Stars) [4:41]
7. Don’t Look Now [3:01]
Erich Wolfgang KORNGOLD (1897 – 1957)
8. Schneegl÷ckchen [2:51]
Alma MAHLER
9. Die stille Stadt [3:05]
Erich Wolfgang KORNGOLD
10. Mond, so gehst du wieder auf [4:10]
Kurt WEILL
11. Lonely House – We’ll go away together (from Street Scene) [5:43]
12. Der Abschiedsbrief [3:16]
13. Denn wie man sich bettet, so liegt man (from The Rise and Fall of the City of Mahagonny) [4:33]
14. Buddy on the Nightshift – Berlin im Licht [3:40]
Alexander von ZEMLINSKY (1871 – 1942)
15. Und hat der Tag all seine Qual [4:18]
16. Selige Stunde [2:15]

 

 




Advertising on
Musicweb


Donate and keep us afloat

 

New Releases

Naxos Classical


Nimbus Podcast


Obtain 10% discount


Special offer 50% off

Musicweb sells the following labels
Acte Préalable
(THE Polish label)
Altus 10% off
Atoll 10% off
CRD 10% off
Hallé 10% off
Lyrita 10% off
Nimbus 10% off
Nimbus Alliance
Prima voce 10% off
Red Priest 10% off
Retrospective 10% off
Saydisc 10% off
Sterling 10% off


Follow us on Twitter

Subscribe to our free weekly review listing
sample

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
   
Rob Barnett
Senior Editor
John Quinn
Seen & Heard
Editor Emeritus
   Bill Kenny
Editor in Chief
   Vacant
MusicWeb Webmaster
   David Barker
MusicWeb Founder
   Len Mullenger