Schubert: Nachtviolen D752 (Mayrhofer)

“Sometimes in the more agitated reveries Goerne seems to be musing with himself rather than singing to an audience. However, cloudy intonation usually vanishes when the songs are calm and gentle. The prayerful ecstasy of Im Abendrot is an absolute wonder. Klage, another nature song, isn’t far behind, each word shaped and pitched with the sort of delicacy” The Times, 8th February 2013 ****

“This is a most interesting and instructive Schubert recital, performed throughout with tact and great musical intelligence” International Record Review, February 2013

“Goerne’s latest Schubert recital, mostly comprised of little-known songs, is one of the baritone’s most accomplished...German baritone animates [Erlkönig] with a wonderful range of voices and inflections: his timbre has lost none of its wraparound warmth and depth but is equally capable of tenurial lightness.” Financial Times, 15th February 2013 ****

“With his dark, nutty baritone and powers of characterisation, he is a near-ideal interpreter of Erlkönig; with the sublime Haefliger as his pianist, he revels in the gentler panoramas, too.” Sunday Times, 24th February 2013

“Though often idiosyncratic, his readings are never less than thoughtful – and his original takes on well-known (and less well-known) songs frequently offer intelligent and bold new insight...Goerne and Haefliger rarely seem to break a sweat, an attitude that can sometimes come over as lack of effort...But their refined style demonstrates its own supreme skill, and there is no shortage of illumination and pleasure to be had” Graham Rogers, bbc.co.uk, 13th February 2013

“His darkly mellow baritone, soft-grained yet with reserves of power, is a perfect instrument for the pantheistic reveries and barcarolles on this new disc...even doubters might have to concede that no singer cares more than Goerne for the beauty and eloquence of Schubert's melodies” Gramophone Magazine, March 2013

“The narrative songs are perhaps the most convincing of all. Erlkönig crackles with excitement: the thrill of the chase rumbles through the piano while Goerne imbues the narrative with passion and intensity, depicting the three characters with admirably individualistic sound colours...It’s a joy that Goerne and Haefliger have given us a recital that shows off so many facets of his artistry in such an admirably skilful way.” MusicWeb International, March 2013

“This is a wonderful recital, in almost all respects. The first thing to grab my attention was the mesmerisinly lovely playing Andreas Haefliger, one of the greatest living pianists...[in Erlkönig] Haefliger's accompaniment is so vivid that I'd enjoy it by itself; Goerne doesn't characterise the three persons as much as many singers, but he still packs a stunning punch...I would rank this among the finest discs I have ever heard.” BBC Music Magazine, April 2013 *****

“Schwarzkopf and Fischer make a magical partnership, with even the simplest of songs inspiring intensely subtle expression from singer and pianist alike. Fischer left few records more endearing than this, and Schwarzkopf’s colouring of word and tone is masterly.” Penguin Guide

“…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

“One of the most versatile, as at ease in Baroque repertoire as in music from Handel and Mozart to Schumann, Fink's rich, warm voice boasts the perfect blend of colour and clarity.” The Observer

“[Fink's] Schubert springs directly from the eloquence of her diction, her understanding of the text and the velvet-like beauty of her exquisite mezzo-soprano. Nobody who loves Schubert should forgo the pleasures of this fine singing and playing. One of the records of the year, no doubt” Sunday Times, 24th August 2008 *****

“We're conscious throughout of a great voice superbly controlled, though [Fink] doesn't give nearly enough attention to words or expressive detail.” Tim Ashley, The Guardian, 12th September 2008 ***

“Supported by Huber's faultless articulation, Fink's tender tone and perfect diction relect every nuance of emotion in the modulations of 'Im Frühling' and 'Dass sie hier gewesen'” The Independent, 7th September 2008

“The clear, unfettered lyrical mezzo of Bernardo Fink makes this a winning new Schubert recital…” BBC Music Magazine, October 2008 ****

“This superlative disc, worthy of 10 stars establishes the mezzo Bernarda Fink as one of today’s great artists. The simplicity of her approach to Schubert is part of her magic. No arch mannerisms, no exaggerated emotion, but no lack of passion and insight. On every track you will find inspiration working at full intensity. She has the poise of a Ludwig. Even in the best known songs, she brings a fresh sense of adventure. Gerhard Huber is he accomplished pianist.” Sunday Telegraph

“Fischer's luminous, unfussily truthful, sober yet supple, and above all supremely elevated pianism is the perfect foil to Schwarzkopf's eye-lash-fluttering vocal acuity.” BBC Music Magazine, October 2005

'Rarely can one find a recording where every single aspect - repertoire, performance and production - is perfect. This is. Highest imaginable recommendation' (In Tune, Japan)

“Hypnotically homogenous of timbre, hushed and soft-focused, The Gents clearly relish Schubert's songs of night and of yearning” BBC Music Magazine

“The 18-strong Dutch ensemble bring to their enterprising programme the essential technical finesse: a rounded, unforced sonority, refined chording and balance (un-hooty male altos blend euphoniously with the high tenors on the top lines), and near-perfect intonation...They are always alive to the sound and sense of the words” Gramophone Magazine, August 2010