Liszt: Vergiftet sind meine Lieder, S.289

This second volume of Hyperion’s newest Lieder series features the great dramatic and musical gifts of mezzo-soprano Angelika Kirchschlager. Internationally renowned on the opera stage, the concert hall and the recording studio, Kirchschlager is an ideal performer of these most varied, complex and emotionally charged songs. She is accompanied by the multi-Gramophone Award-winning Julius Drake, who curates the series.

The songs recorded here encompass thirty years of Liszt’s life, with texts in German, French and Italian, and contain many examples of the hidden beauties of this undervalued and little-known strand of the composer’s works.

Detailed and informative notes by Susan Youens and a beautifully intimate recorded sound complete a volume which will be indispensable to any lovers of Lieder.

This collection of songs by Liszt demonstrates how cosmopolitan he was. He wrote songs in German, French, Italian, English, Hungarian and Russian. Some are real discoveries, such as his only song in Russian and a duet. Ne brani menja, moj drug and O Meer im Abandstrahl are premiere recordings.

Sylvia Sass was born near Budapest, Hungary, in 1951 to a very musical family. Her mother was a coloratura soprano and her father a high school music teacher. She made her stage debut at age 14 in Adam’s operetta Die Nürnberger Puppe and then commenced study at the celebrated Franz Liszt Academy in Budapest, completing a five-year program in two. Her professional debut was as Frasquita in Carmen in 1971. Several awards followed – 1st prize at the Kodály Voice Competition in Budapest, 1972; winner at the International Opera Competition for Young Singers, of the Grand Prix as Violetta in La traviata, 1973, the Silver Medal at the International Tchaikovsky Competition in Moscow, 1974. She was also made an Honoured Artist of Hungary in 1977.

While still in Budapest, she performed such dramatic roles as Freia in Das Rheingold, Violetta in La traviata and Mimi in La bohème. International stardom came with a composer with whom she is most associated and in a role represented on her Decca recitals – Giselda in Verdi’s I Lombardi at Covent Garden in London, 1976. The next year she made both, her Italian debut in Turin as Lady Macbeth, and her Metropolitan Opera debut as Tosca alongside José Carreras. La Scala followed the year after, in 1978, where she sang Puccini’s tragic heroine Manon Lescaut alongside Plácido Domingo.

Soon, Sass was being heralded as ‘the new Callas’, and she did meet Callas in person, thanks to a meeting set up by Leonard Bernstein. True, the voice had a similar dramatic colour, but Sass quickly rebuffed the comparison, saying, ‘Callas was so great and so unique. I just don’t think it’s fair to compare somebody with such a great artist.’

Her three recital records for Decca include two discs of operatic arias, including all her most celebrated roles, both conducted by Lamberto Gardelli, and a disc of songs by Liszt and Bartók with her compatriot, pianist András Schiff. All of these are issued collectively as a 2CD set for the first time. In recent years, Sass has settled in France, where she keeps busy painting and giving masterclasses.

In this 200th anniversary year of Liszt, Carus has released a recording of seldom performed songs. The 20 songs in this collection reflect Liszt’s interest in German Romanticism and are based on poetry by various German poets of the 17th and 18th centuries. Mammel is in great demand as a lieder singer.