Schumann: Der Page, Op. 30 No. 2

“By nature, the Austrian tenor's voice is clear in definition and tone...It sounds like the expression of a sharp mind with a good deal of cunning about it - this is Dichterliebe sung by Wagner's Loge...Larina (we must suppose) sees the role of the pianist in this score not as part of the poet's introspective, lyrical mind but as an external, dramatic commentary.” Gramophone Magazine, December 2010

“In his notes Graham Johnson says that what we have always lacked is a convincing way of performing late Schumann songs, often spare in texture and elusive in style. Well, he and Keenlyside seem to have found one here in their wholly admirable versions of the very different Opp 98a and 117. The Op 98a settings of the Harper's outpourings from Wilhelm Meister have always stood in the shade of those by Schubert and Wolf. This pair show incontrovertibly that there's much to be said for Schumann's versions, capturing the essence of the old man's sad musings, as set by the composer in an imaginative, free way, alert to every nuance in the texts.
The extroverted Lenau Husarenlieder could hardly be more different. Keenlyside identifies in turn with the bravado of the first, the cynicism of the second, and the eerie, death-dominated mood of the fourth. The pair enter into the openhearted mood called for by the Knabenhorn settings, most of all in the irresistible 'Der Hidalgo'.
Keenlyside is just as forthright in Die Löwenbraut and in those of Op 35, the well-known Kerner settings, and he brings impressive control to the Eusebius ones, not least the all-enveloping 'Stille Tränen'. The interpretation of this quasi-cycle is convincing and unerringly paced. The recording and Johnson's persuasive playing are superb.” Gramophone Classical Music Guide, 2010

“Although recorded on three separate occasions, and with different accompanists, this programme is fairly typical of the recitals that Dame Janet gave in the late 1960s and early 70s when she was at the absolute peak of her form. She probably wouldn't have opened with the Haydn, reserving it usually as the final item in the first half, an operatic climax to work towards. She recorded it later with Raymond Leppard, but this live version has a wonderful sense of intimacy. The recording is first rate, with marvellous presence; Baker has that ability to invest a simple phrase in the first recitative such as 'la face splenda del nostro amor' with unforgettable poignancy. In the second part, as Ariadne rails against her fate, she allows herself an almost verismo–like outburst at 'ei qui lascia in abbandono'. This cantata can sometimes seem a bit heavyweight on a recital programme, but as Baker sings it seems to grows in beauty and intensity.
Frauenliebe und –leben was the work that brought Baker early fame as a recording artist, in her recital for Saga. Later she recorded it again for EMI with Barenboim. This recording from 1968, accompanied by Geoffrey Parsons, finds her in luxurious full voice, revelling in each successive melody. It isn't preferable to the earlier Saga version with Isepp, but here she lets herself go more at certain key moments such as 'O lass im Traüme' in the third song. This cycle belonged to Janet Baker, and with the single exception of Sena Jurinac, there just isn't a singer to equal her in it.
The songs recorded in the studio with Paul Hamburger include two by Wolf, not available anywhere else in Baker's discography. 'Geh' Geliebter' is sung with typical ardour. The two Schubert and Schumann songs are fresh and lively, but it's the Strauss group that has the highest voltage. Heimliche Aufforderung doesn't really suit her, with its intoxicated ardour, but Morgen is a superb example of that hushed, rapt quality that was one of the characteristic joys of Baker's art. The final song, Befreit, achieves a dramatic thrust that suggests the theatre in the best possible sense. Admirers who already possess Baker's other versions of this material shouldn't be deterred – this is a splendid souvenir of her in the full glory of her prime. Newcomers to Baker's singing – there can't be many people under 30 who heard her live – are in for a treat.” Gramophone Classical Music Guide, 2010

“In summary, this set can be warmly recommended to anyone wanting to explore this utterly essential corner of Schumann’s output. It’s particularly good if you’re a beginner, as it acts as a compendium of Schumann’s greatest achievements in song in performances that are at least dependable and often much more” MusicWeb International

“most impressive when considered in detail against other versions of these much-recorded works. Eschenbach's accompaniments are superb, consistently imaginative.” Penguin Guide, 2010 edition ***