Christopher Maltman

'As ever, illuminating words complement revelatory music-making' (BBC Music Magazine)

“Like the previous Schubertiads in the Edition, this disc mixes solo songs and partsongs, famil- iar and unfamiliar. The only really famous work here is Der Wanderer, that archetypal expression of romantic alienation whose popularity in Schubert's lifetime was eclipsed only by that of Erlkönig. Some of the partsongs – Zum Punsche, Naturgenuss and Schlachtgesang – cultivate a vein of Biedermeier heartiness that wears a bit thin today. Nor will Schubert's consciously archaic tribute to his teacher Salieri have you itching for the repeat button – though, like several other numbers, it shows the 19-year-old composer rivalling Mozart in his gift for musical mimicry. To compensate, though, there are partsongs like the sensual Der Entfernten, with its delicious languid chromaticisms, and the colourful setting of Gott im Ungewitter. The slight but charming setting of Das war ich is appealingly done by the light-voiced Daniel Norman, and Ann Murray brings her usual charisma and dramatic conviction to the pathetic Italian scena Didone Abbandonata.
Christine Schäfer is equally charismatic in the unjustly neglected Die verfehlte Stunde (recorded here for the first time), catching perfectly the song's mingled yearning and ecstasy and negotiating the mercilessly high tessitura with ease. Other happy discoveries include Schubert's virtually unknown third setting of Des Mädchens Klage, with its soaring lines, a melancholy tale of courtly love, sung by Christoph Prégardien with as much drama and variety as the music allows, and the surging Entzückung ('music for an infant Lohengrin,' as Graham Johnson puts it), for which Toby Spence has both the flexibility and the necessary touch of metal in the tone. Doubts were fleetingly raised by Lynne Dawson's slight tremulousness in Des Mädchens Klage, and by Christopher Maltman's prominent vibrato at forte and above in an otherwise involving performance of Der Wanderer.
But, these cavils apart, no complaints about the singing or the vivid accompaniments.” Gramophone Classical Music Guide, 2010

“Throughout the disc, Graham Johnson's accompaniments are typically illuminating with numerous touches of detail glossed over by many pianists. And, as ever, his vastly comprehensive notes, amounting to no less than a book, are in a class of their own” BBC Music Magazine

“Ireland was a songsmith to rival the finest this country has produced, and Hyperion's generous anthology will hopefully encourage others to explore this rewarding and rapt repertoire” Hi-Fi News

“[The Fourth Symphony] is full of charm and tactile invention, vividly realised in this live recording. The polyglot, quite vigorous Christmas cantata embraces a carol sequence, Silent Night (in German) making a touching appearance halfway through the middle movement.” Sunday Times, 30th October 2011

“Pastorale d'Eté depicts a country landscape under shimmering heat. The problematic Fourth Symphony, swivelling inconsequentially between neoclassical austerity and tentative lyricism, was written in the aftermath of the second world war. The Cantata itself – Honegger's last work, composed when he was terminally ill – glances longingly and tenderly at ideas of new beginnings before gradually retreating towards its final” The Guardian, 10th November 2011 ***

“All three works on this unexpectedly satisfying CD communicate a joie de vivre without ever sounding lightweight. The jaunty Symphony No 4 is performed with the wit and subtlety it deserves, bringing out the song-like character of its three movements. Pastorale d’été is a dreamy orchestral summerscape, Une Cantate de Noël a radiant choral celebration of the human and the divine.” Financial Times, 18th November 2011 ****

“The other two Honegger works on this CD (“Pastorale d’été” and Symphony No 4) are an acquired taste, but Une Cantate de Noël is impressively voiced. The music moves from contemplative ritual to a cunningly crafted medley of Christmas melodies and an ending of quiet serenity.” The Telegraph, 9th December 2011

“Jurowski’s performance is airy and rhythmically sharp, and beautifully played...There’s a joyous moment near the close [of the Christmas Cantata] when the choral cries of ‘Amen’ melt into a tender orchestral postscript. It had me reaching for the Kleenex. Very good singing from the LPO Chorus and the New London Children’s Choir, and an excellent live RFH recording.” The Arts Desk, 10th December 2011

“What a strange conundrum the symphony is, but the LPO play it as though they mean every note.” Gramophone Magazine, February 2012

“a release especially recommended to those who have previously resisted Honegger, believing him to be an overly dry or dour figure. The music-making here avowedly proves otherwise.” International Record Review, January 2012

“Pleasing performances of some pleasing and unfamiliar music. Recommended to beachcombers (and anyone else who's curious).” Classic FM Magazine, March 2012 ****

“This is an extraordinarily subtle performance of Schubert's first great cycle. Wonderfully recorded, with an ideal balance between soloist and pianist, it leaves you wondering, at times, who is accompanying whom...Maltman, with his gloriously warm light baritone, is born along on the stream of the piano's uncertainties, and the total effect is disturbing and unique...indispensable for anyone wanting to probe beneath its adorable surface.” BBC Music Magazine, June 2011 *****

“Maltman brings a fierce intelligence and a wide range of vocal colour to his performance, and he manages to balance a sense of overarching emotional control from beginning to end with in-the-moment spontaneity...Graham Johnson's accompanying - which now supports, now ironizes the ostensible emotion of the song - adds depth too.” Classic FM Magazine, June 2011 ****

“Maltman's journeyman miller is volatile, susceptible, prone to violent swings between elation and self-communing inwardness, but not one who senses his tragic fate virtually from the outset. With its fine bright resonance, his virile baritone initially exudes health and an eagerness to seize life...Maltman's ardent, impulsive, intensely 'lived' performance, partnered and inspired by the ever-illuminating Johnson, should be heard by anyone who loves the cycle.” Gramophone Magazine, June 2011

“After only moments in the opening song, 'Das Wandern', one becomes aware that Maltman's singing will not be vocally monochromic...This is a extremely introspective reading, controlled, collected and sensitive...Johnson brings his own eloquent contributions.” International Record Review, May 2011

“This performance...is uncommonly convincing in its combination of vividness and deep introspection...A strong point is Johnson’s piano-playing...but this is very much a partnership. Maltman is a compelling narrator, making you see the pictures and moods described, and imaginatively mixing half-voice and vehement full tone. The Hateful Colour is thrillingly dramatic.” Sunday Times, 1st May 2011 ****