Thanks for your explanaion., Mandryka. I understand what you (and they) mean , but it's not for me. I suppose it depends on where you draw the line. I can accept some embellishment in Handel, for instance, the sort of thing Thurston Dart and George Malcolm used to do in continuo realisation, but altering Schubert's notes risks 'doing your own thing': there's no telling where it might end. I recall a pianist interpolating folk tunes into Chopin and Grieg. I just wouldn't want to hear that. I'm content with the Schubert recordings I have.
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You know there are two Gerhaher/ Huber recordings? Both on Spotify. I don't know what I really feel about what he does actually - here and elsewhere - but he has ideas about singing so there's food for thought there.Originally posted by gurnemanz View Post
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Astonishing rendition from Fassbaender and Reimann - tough, harsh, brutal almost. Lyrical but spiky, angular. This is one nasty vengeful lover! Some would say she's taken the music completely the wrong way I guess.
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Maybe she has some 'agenda' of her own to unload; I've admired her singing in other music but I wouldn't listen to her in this work.Comment
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I have a confession to make: in my early youth, only a boy you see in the very early 80s, I bought Schubert's 'Schöne Müllerine' as I was embarking on my passion with this composer but I failed to see my fault. I acquired the recording by Shura Gehrman on Nimbus, with Nina Walker (NIM 5023) translated in to English as the `Fair Maid of the Mill'. How could I have been so stupid? At least I have an occasional laugh´at my error
Give me Bostridge any day, or he'll turn me in to a witch...Comment
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Steuart Wilson recorded a very abridged version in English, billed as 'The Maid of the Mill'. One scoffs now, but in 1929 those Decca 78s, much cheaper than HMV. may well have started a love of Schubert Lieder in some impecunious listener.
I came to know the 'Unfinfished' in a very wacky recording with the middle missing. Who knows how many poeple came to love Wolf Lieder by first hearing Barbra Streisand? Or Mozart from Benny Goodman?Comment
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Wanna hear Otello or Siegfried sing Schöne Müllerin? Francisco Araiza's your answer. The DG engineers have not done him any favours though - terribly in your face, it's as if he's there in your living room, singing 2 meters away - full throttle, the volume of a tenor on the stage at Covent Garden. A far cry from his lovely Winterreise.
But it's a young voice and a dramatic interpretation. If only he had been more sympathetically recorded. F\or me it's not easily tolerable.Last edited by Mandryka; 22-03-24, 19:25.Comment
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This is an example of Julius Patzak with Walter Klien, it's the only example I can find online. I'll post it here in case someone who appreciates the art of fine lieder singing cares to comment
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Andreas Schmidt has recorded Müllerin twice, first on Hanssler and then on DG - same for Winterreise. For DG the voice is deeper, and I would say that the interpretations - both Winterreise and Müllerin - are full of sensitivity. I just find what he does almost devistatingly expressive, moving. Top tier, for both cycles.
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Better, much better interpretation, here - obviously not really recommendable because of the sound - but what a fabulous imaginative lyrical performance. He obviously thought better of it for DG - a big mistake IMOOriginally posted by Mandryka View Post
Wanna hear Otello or Siegfried sing Schöne Müllerin? Francisco Araiza's your answer. The DG engineers have not done him any favours though - terribly in your face, it's as if he's there in your living room, singing 2 meters away - full throttle, the volume of a tenor on the stage at Covent Garden. A far cry from his lovely Winterreise.
But it's a young voice and a dramatic interpretation. If only he had been more sympathetically recorded. F\or me it's not easily tolerable.
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