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Kate Royal: A Lesson in Love
Ah, Love, but a day! Op. 44, No. 2
Am Sonntag Morgen Op. 49 No. 1
Love went a-riding
O Waly, Waly
Songs of the Auvergne: Chut, chut
Heart we will forget him
Apparition - song (1884)
Donc ce sera par un clair jour d’été
I will walk with my love
Es muss ein Wunderbares sein, S. 314
Chanson de la mariée
Gretchen am Spinnrade, D118
Rastlose Liebe, D138
Die Männer sind méchant, D866 No. 3
Du liebst mich nicht D756 (Platen)
Lied der Braut II, Op. 25 No. 12
Lied der Braut I, Op. 25 No. 11
Hochzeitlich Lied Op. 37 No. 6
Pour un baiser
O wär dein Haus durchsichtig wie ein Glas
Erstes Liebeslied eines Mädchens (No. 42 from Mörike-Lieder)
Verschling der Abgrund meines Liebsten Hütte
A Lesson in Love tells the universal story of a love won and lost, and contains some beautiful and emotional German lieder, English and American songs and French mélodies.
Kate Royal’s first two orchestral discs for EMI have been critically acclaimed. Here she turns her attention towards a more intimate recital disc with piano.
A Lesson in Love charts the journey of a young girl’s relationship: from the first kiss and thrill of a blossoming love and initial intimacy through to the joy of a love fulfilled, to the disappointment and anger when the relationship breaks down - it ends with the girl’s acceptance and a cheeky sense of optimism about what her future love life might hold… Kate here creates her own unique song cycle, a thematic journey through the highs and lows of love, of young naivety lost and emotional maturity gained, feelings and experiences everyone can relate.
Kate leads us through her own personal choice of song, and her innate sense of drama and her passion for musical storytelling brings a fresh and youthful interpretation of the disc repertoire. A Lesson in Love contains a mixture of well-known songs as well as some surprising rarities, with a range of song styles and languages to appeal to a broad audience. She is joined by the most esteemed and respected accompanists, Malcolm Martineau.
“Royal is on fine form in the Schumann and Schubert Lieder, with Malcolm Martineau at the piano stage-managing the show admirably, as indeed he does throughout.” BBC Music Magazine, April 2011 ****
“Royal's idea of combining songs of disparate eras and styles to tell a single love story works beautifully...[She] sings with radiant beauty and powerful emotional immediacy. If the golden warmth of her voice shows a hint of tightening when pushed on her high notes, it doesn't detract from the overall impact.” Classic FM Magazine, April 2011 ****
“Royal, with Malcolm Martineau at the piano, finds a character and colour for each of her 28 songs...William Bolcom’s gentle “Wait in” at the start and finish is well justified, and her Bridge and Britten are heartfelt, but the gem is Amy Beach’s winsome “Ah, Love but a day!”.” Financial Times, 11th February 2011 ****
“Kate Royal's beautifully sung new album, with finely characterised piano-playing from Malcolm Martineau, ranges imaginatively across a spectrum of composers who have captured the first pangs, the heartaches and the dashed hopes that can make life such a maelstrom of emotion.” Gramophone Magazine, March 2011
“Royal is generally in fine voice...luscious warmth is much in evidence. Royal is an exception among the majority of lyric sopranos these days in boasting an especially substantial middle range, which really glows throughout this disc.” International Record Review, March 2011
“An intriguingly fresh and unhackneyed programme...Kate Royal proves herself a compelling recitalist, colouring words with feeling and creating vivid atmosphere and character.” The Telegraph, 6th March 2011 ****
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Clara and Robert Schumann: Portraits
Widmung, Op. 25 No. 1
Der Nussbaum, Op. 25 No. 3
Die Lotosblume, Op. 25 No. 7
Lied der Suleika, Op. 25 No. 9
Lied der Braut I, Op. 25 No. 11
Lied der Braut II, Op. 25 No. 12
Gedichte der Königin Maria Stuart, Op. 135
Volksliedchen, Op. 51 No. 2
Der Himmel hat eine Träne geweint, Op. 37 No. 1
Frauenliebe und -leben, Op. 42
Ich stand in dunkeln Träumen
Liebeszauber, Op. 13 No. 3
Ich hab’ in deinem Auge, Op. 13 No. 5
Lorelei (Text: Heinrich Heine)
3 Lieder Op. 12
Women in love, in pain and in emotional turmoil – such is the subject matter of most of the songs that Swedish soprano Miah Persson and pianist Joseph Breinl have chosen for this recital of works by Robert and Clara Schumann.
The year of Robert and Clara’s wedding is often called Schumann’s Liederjahr; during this ‘year of song’ he composed more than 150 songs, and his wedding gift to Clara was in fact a song cycle, Myrthen, Op. 25. Sixteen songs dated 1840 can be found here, including the Frauenliebe und Leben cycle, the crowning achievement of the year.
But Robert also encouraged Clara to write songs and in 1841 they jointly published a collection entitled The Spring of Love. Clara had composed three of the songs (the 3 Lieder, Op. 12) and Robert the remaining nine, including Der Himmel hat eine Träne geweint
This disc also features Robert’s final song cycle – composed in 1852 and focussing on the life and tragic end of Mary Stuart, Queen of Scots – along with four of Clara’s last songs.
As well as being well-known in opera houses across the world, Miah Persson is increasingly in demand as a recitalist, performing regularly with Joseph Breinl.
“Miah Persson's bright, guileless soprano ideally expresses ['Ihr Bild''s] very special simplicity and tenderness. And her accompanist, Joseph Breinl, relishes the pianistic delights of her Lorelei...Persson's Frauenliebe und -Leben also very much tunes in to her own vocal sensibility. This performance rings with exuberant delight: there's a girlish excitement, a racing pulse, and an enraptured confidence, leading to a final song of fierce grief.” BBC Music Magazine, November 2011 ****
“Her voice is pure, her diction is terrific, and her musicality shines out of every note. And there's superb partnership from Breinl at every turn...A beautifully programmed, intimate and moving recital” Classic FM Magazine, November 2011 ****
“her naturally sweet, gleaming tone can encompass deeper, more sensuous shadings, as in her dreamy 'Die Lotosblume'...In Frauenliebe und -leben Persson's youthful freshness of tone and eagerness of manner are constant assets. No performance of these songs could be less mawkish or matronly...an enterprising recital from a soprano of charm, intelligence and natural communicative gifts.” Gramophone Magazine, November 2011
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