Schubert: Der Sänger am Felsen, D482

“…Watt's youthful, radiant delivery, with no flaws in technique that I can hear, fits many of the Lieder like a glove.” BBC Music Magazine, January 2009 ****

“A voice in its first, radiant freshness is always to be cherished in Schubert. Watts is a thoughtful interpreter, too, alive to mood and atmosphere… Crucially, she also brings a measure of innocence and simplicity - not quite the same thing as artlessness - to many of these songs, allied to a technical mastery that allows her to spin a rapt, unblemished line in "Nacht und Träume".” Gramophone Magazine, February 2009

“Hailed as a singer to watch after winning the 2006 Kathleen Ferrier Award and the 2007 Cardiff Song Prize, Elizabeth Watts makes her CD debut with this refreshingly unhackneyed Schubert programme. Perennial soprano favourites – DieForelle, Nacht und Träume, Frühlingsglaube, Suleika – are not shunned. But Watts has alighted on some rarely aired gems. How often in recital do we hear the agitated scena-in-miniature AusDiego Manzanares; or the playfully charming paean to spring Die Blumensprache; or the Novalis setting Marie, where sacred and profane blur in a song of exquisite, rarefied grace? A voice in its first, radiant freshness is always to be cherished in Schubert. Watts is a thoughtful interpreter, too, alive to mood and atmosphere, colouring her tone in response to a darkening of the harmony in, say, Sei mir gegrüsst. Crucially, she also brings a measure of innocence and simplicity – not quite the same thing as artlessness – to many of these songs, allied to a technical mastery that allows her to spin a rapt, unblemished line in Nacht und Träume. Encouraged by Vignoles's buoyant accompaniment, she makes an engaging story-teller in Die Forelle, with an unexaggerated touch of indignation at the angler's treachery; and she sings the mildly salacious refrain song Die Männer sind méchant with just the right wide-eyed mock-pathos.
Quibbles? Well, in one or two songs, including the opening An den Mond, Watts struck me as overly languid. She treats Nähe des Geliebten as an elegiac litany, where, say, Janet Baker, choosing a more mobile tempo and finding greater variety from verse to verse, sings it as a passionate avowal of love. Watts also emphasises melancholy over excited anticipation in Frühlingsglaube and Suleika. Here and elsewhere, Watts under-exploits the expressive potential of German consonants. That said, highlights are lovely performances of Nachtviolen – the high tessitura effortlessly negotiated – or the Mozartian barcarolle Liane: just two songs among many where the vernal purity of Watts's tone and the grace of her phrasing are priceless assets.” Gramophone Classical Music Guide, 2010

“Goerne… and Schneider offer grave and solemn performances of Goethe's Mignon and Harper songs, before ending on a higher note, celebrating the eternal joy of love in 'Willkommen and Abschied'.” BBC Music Magazine, February 2009 ****

“Battered by Bryn Terfel dramatics, the ears cried out for a pure dose of lieder from a master of the craft. Matthias Goerne… seems to own a different shade of baritonal colour for every syllable Schubert wrote. The voice is sweet and serene, even at fff, and the shifts that Goerne applies to the changing of seasons and the fickleness of love are done with enviable delicacy. More reticent than Fischer-Dieskau or Thomas Quasthoff to bend a line for expressive emphasis, when Goerne takes a liberty the effect is breath stopping… T his is not an album to gorge at one go. Take it two songs a night before bedtime, and it might see you through to the end of recession.” Norman Lebrecht, Evening Standard CD of the Week

“Goerne used to record for Decca, but it apparently had no interest in his 12-volume Schubert compendium, so the less ruthlessly commercial Harmonia Mundi comes to the rescue, for which the France-based company deserves the highest praise. From a vocal point of view, few male singers, even Fischer-Dieskau, command such a rich palette of colours as Goerne does here…he goes where Dieskau never ventured: he includes two of Mignon's songs, Heiss' mich nicht reden and Nur wer die Sehnsucht kennt, as well as the Harper trilogy… In the middle Harper song, Mayrhofer's Nachtstück and Nähe des Geliebten (Nearness of the Beloved), Goerne approaches the sublime and captures perfectly the wry wit of Goethe's sly dig at water-nymphery, Der Fischer, in which the surprise encounter of an angler with a "moist woman" is wryly underlined by Schubert. Luxury support from Deutsch and Schneider sets the seal on an outstanding issue.” Sunday Times Classical CD of the Week

“This promises to be a landmark series, up there with Hans Hotter and Fischer-Dieskau.” The Observer

“Here elegy, fatalism and death-longing predominate and in such repertoire Goerne's mellow, darkly rounded timbre, expressive diction and care – rare in Lieder singers today – for a true, 'bound' line are well nigh ideal. Even at the most anguished fortissimo, his tone never grows harsh or hectoring. Perfectionism like Goerne's has inevitably provoked charges of over-calculation.
Some might protest at the ultra-slow tempo for Du bist die Ruh. Yet Goerne's beauty of tone and phrasing (founded on seemingly superhuman reserves of breath), and a rapt intensity that rises to spiritual radiance in the final verse are mesmerising. At a more conventional tempo, he sings An die Musik as a simple, sincere confession of faith, with affectionate touches of rubato (and how eloquently Helmut Deutsch's left hand duets with the voice). Elsewhere Goerne's unsentimental tenderness can illuminate little-known songs that seem ordinary on the printed page – Abschied von der Harfe, say, or the quasi-operatic lament Der Sänger amFelsen. He even appropriates, successfully, two of Mignon's songs, giving one of the most desolate and – in the central section – disturbed performances of Nur wer die Sehnsucht kennt you will hear.
True to form, Goerne makes an uncommonly melancholy serenader in An die Laute and DesMädchens Liebeslauschen, which never smiles. Yet he can lighten up, as in the story-telling of DerFischer and Wie Ulfru fischt. Like Deutsch on the first disc, Eric Schneider fully matches Goerne in acumen and command of colour, not least in a performance of Nachtstück of mingled grandeur, mystery and compassionate gentleness.” Gramophone Classical Music Guide, 2010

“Goerne's virtuoso vocal sculpting draws you into the inner landscape of each song, his warm, expressive baritone shaping detail often understated by lesser artists. This promises to be a landmark series, up there with Hans Hotter and Fischer-Dieskau.” The Guardian, 12th October 2008

“Above all, Tilling is versatile and protean...Her soprano sounds peachier than ever, her diction is clear and her musical instincts are immaculate. This lovely singing is underpinned by Paul Rivinius’s outstanding playing of the equally important piano parts. A must for Schubertians.” Sunday Times, 8th April 2012

“Tilling is a Swedish singer whose enchanting soprano voice and acute musical intelligence are both admirably deployed in this well-chosen selection...The opening song of the recital is the lively, exhilarating 'Bei dir allein!'...Tilling negotiates it without strain and sings it with delightful spontaneity...This is a lovely disc, a treat for all lovers of Schubert's songs.” International Record Review, May 2012

“The al fresco exuberance of 'Bei dir allein' gets this recital off to a delectable start: Camilla Tilling's vernal tone is fresh and smiling, her phrasing both shapely and feurig, as Schubert demands, her response to mood and harmony vivid...Tilling's tonal radiance and free-soaring top notes are priceless assets...a Schubert recital of rare pedigree.” Gramophone Magazine, July 2012

“Ulrich Eisenlohr gives excellent support and interpretive depth to the songs, as he has done for many other singers in this series.” Classics Today