Brahms: Alte Liebe, Op. 72 No. 1

“Holl's voice, reminiscent of Fischer-Dieskau's but rather more of a real bass...is rich, true and resonant. He uses it simply, without self-conscious artifice, and the result is some very beautiful singing. Johnson's accompeniment is always skilled and perceptive...This disc, while the whole recital has notable integrity and quality, would be worth having for [the Four Serious Songs] alone.” International Record Review, September 2012

“[Holl is] dark-toned, at times to the point of grittiness, and you might find your admiration for the emotional truth of his singing offset by moments of unwieldiness and an occasional pulse in his tone. It works best if you listen selectively...The effect is awesome, but makes for difficult listening.” The Guardian, 13th September 2012 ***

“Holl's true bass register resonates eloquently with this programme of very serious songs...Holl has the ability to draw the listener in...For the Four Serious Songs themselves, Holl brings a deep sense of empathetic humanity to the live, deeply felt and thoughtfully reasoned inner monologues which he makes of them.” BBC Music Magazine, November 2012 ****

“Holl fields a bass-baritone of slightly grizzled nobility, with impressive sonorous depth...he catches all the terrible nihilism and life-weariness of the first two songs and the opening of the third...Johnson's fastidiously textured playing, like his detailed commentaries, is always illuminating...But be prepared for a protracted Brahmsian gloomfest.” Gramophone Magazine, November 2012

“Holl, here approaching his mid-sixties, is still a flexible and nuanced singer with the ability to lighten the tone when appropriate. In spite of a long operatic career with often heavy roles - he has been a regular at Bayreuth since 1996 - the voice is largely unscathed and the tone noble...[Johnson] is the ever-flexible partner in what is a duo of equal merits.” MusicWeb International, January 2013

“A moving Brahms Four Serious Songs from a young and physically impassioned Fischer-Dieskau, and a fascinatingly exploratory Dichterliebe from 1957, both incomparably accompanied.” BBC Music Magazine, June 2012 *****

“Fischer-Dieskau is a superb interpreter of the cycle” Gramophone Magazine (Dichterliebe)

“this is a masterly performance, a towering interpretation of these dark, noble songs” Gramophone Magazine (Brahms: Four Serious Songs)

“Fischer-Dieskau is splendid in the furious little Hahm setting, Kein Haus, keine Heimat, the shortest of all Brahms’s songs, and gives a ravishing account of Feldeinsamkeit. … [His] performance is clearly among the greatest” Gramophone Magazine (Brahms)

“The main purpose of this frustratingly fragmentary and unevenly mastered compilation of Lieder treasure seems to be to give a sampler tasting of the young Fischer-Dieskau in the 1950s, with a varied palette of accompanists.” BBC Music Magazine, February 2010 ****

“The voice is again in finest condition, the art wonderfully flexible in its transitions from light-heartedness to the intensity of despair. The Liederkreis songs include a magical "Mondnacht" and a vividly "faced" "Im Walde". The Brahms group opens with Feldeinsamkeit, masterly in control, technical and expressive. The remastered sound is very immediate, sometimes almost uncomfortably so, but the impression is strong, probably ineffaceable.” Gramophone Magazine, December 2009

“From Roger Vignoles's first light-filled notes in 'Bei mir sind meine Gedanken', with Bernada Fink's smiling, wide-eyed voice, these performers make it sound as though the ink is still wet on Brahms's manuscripts. The real skill of Fink and Vignoles is to capture that fusion of physical and emotional movement within a song - and to recreate it with real spontaneity.” BBC Music Magazine, March 2007 ****

“'Bei dir sind meine Gedanken', one of Brahms's happiest songs, makes an inviting aperitif. Buoyed by the evanescent shimmer of Roger Vignoles's accompaniment, Bernarda Fink is all confiding eagerness, phrasing deftly and gracefully and showing a natural feeling for Brahmsian rubato. One would expect Fink's warm, luminous mezzo, flecked by darker, deeper tints, to be near ideal for, say, the nostalgia of 'Alte Liebe' or the many songs of elegiac loss and heartbreak, all touchingly done here. But having thought of her as an essentially 'serious' singer, dignified, eloquent, the vivacity and 'face' she brings to 'Bei dir sind meine Gedanken' and other lighter songs is sheer delight. 'Ständchen', here more sunlit than moonlit, is charmingly characterised, with an affectionate caress on the dreaming girl's 'Vergiss nicht mein'. Fink is playfully coquettish without archness in the delicious 'Spanisches Lied', and sings 'Vergebliches Ständchen' with an outgoing boldness and witty touches of timing – and the tender lingering on the penultimate 'Mein Knab' suggests that the boy's luck may soon be about to change.
Other singers have brought a more intense yearning to 'Die Mainacht' and found greater mystery amid the slumberous balm of 'Feldeinsamkeit'.
But Fink's flowing performances, sensitively shaped and inflected, are never less than satisfying. It is good to be reminded, too, that, for all its melancholy, 'Die Mainacht' is also a song of spring, suffused by warm major-key harmonies, with a hint of excited anticipation at the line 'Wann, o lächelndes Bild'. On the face of it, Fink's lyric mezzo would seem to be on the light side for 'Von ewiger Liebe'. But with Vignoles imaginatively 'orchestrating' the keyboard part, she gives a finely graded, deeply moving performance, vividly contrasting the contained passion of the boy's words with the girl's gentle candour. The glowing climactic avowal of eternal love is truly overwhelming, setting the seal on a Brahms recital of rare distinction.” Gramophone Classical Music Guide, 2010

“For all the tragic, premature loss last year of Lorraine Hunt Lieberson, Argentinian Bernarda Fink is just one of a golden generation of mezzos vying for the mantle of Janet Baker. 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 for this selection of 31 songs from the almost 200 Brahms wrote. Her musical intelligence combines with the sensitivity of Roger Vignoles to capture the folk-song spirit behind their urbane polish.” The Observer

“a hugely impressive disc, testifying to the versatility and range of a singer who has already drawn comparisons with Janet Baker” The Guardian

“A national treasure” Evening Standard

“Connolly's lovely singing reaches to the sensuous core” The Telegraph

“Almost seven years ago we went to the Wigmore Hall expecting to hear a well known soprano only to find that she had been replaced by a less well-known mezzo. Sarah Connolly had already appeared with the English National Opera in major roles such as Handel's Xerxes and Donizetti's Mary Stuart. Disappointment at missing the scheduled artist vanished with the completion of the substitute's first phrases. Delight took its place and increased steadily throughout the recital. It was a clear, fresh and powerful voice, used with intelligent assurance, and by the final groups (Duparc and Falla) she had established with the audience the rapport of a much more experienced artist. What was true at the Wigmore holds for this concert at St John's, Smith Square, where her success with the audience is again unmistakable and fully merited.
Again, her choice of programme contributes to the success: a judicious mixture of the familiar and out-of-the-way, and well suited to voice and style. The Brahms group is particularly satisfying, with Die Mainacht broadly phrased, Nachtwandler imaginatively hushed and Von ewigerLiebe warmly felt. The Hahn songs are equally (if contrastingly) delightful, the two pastiche pieces, A Chloris and Quand je fus pris au pavillon charmingly in period. Weill's Speak Low and Ireland's Her Song are winning encore pieces.
That leaves Haydn's Arianna a Naxos, the long and demanding concert aria which opens the programme. Here we find a substantial achievement and a limitation. The style is admirably clean and the emotional range well probed, but the whole remains a little impersonal and one is driven to comparisons. Janet Baker brings warmer humanity and a more memorable timbre while Cecilia Bartoli is more vivid – hear her intense 'Tradita io sono' for instance, or the pale 'Già più non reggo' or the furious final 'Barbaro ed infedel'.
That comparison does, however, throw into a very favourable light Eugene Asti's accompaniment: where András Schiff (for Bartoli) is over– assertive, Asti is sensitive and keeps proportion.
And indeed he does so throughout: a constant pleasure and a major contribution to the recital's undoubted success.” Gramophone Classical Music Guide, 2010

“Connolly woos her audience with the calling-card for any and every mezzo: Haydn's dramatic cantata, Arianna a Naxos. And every second of its nervous and emotional life - its hopes, fears and final despair - are uncovered in Connolly's superbly observant voice and imagination.” BBC Music Magazine, March 2006 *****

“…a clear, fresh and powerful voice, used with intelligent assurance… The Brahms group is particularly satisfying, with Die Mainacht broadly phrased, Nachtwandler imaginatively hushed and Von ewiger Liebe warmly felt. The Hahn songs are equally… delightful, the two pastiche pieces, A Chloris and Quand je fus pris au pavillon charmingly in period. ...Weill's Speak Low and Ireland's Her Song are winning encore pieces.” Gramophone Magazine, May 2006