This recording of Mahler's Lieder , which is not in the cycle Gary Bertini Symphony which released Emi, was recorded by the WDR over 1993. Like all Mahler director of the Israeli, is of high interest.
takes a little getting used to the voice of young Quasthoff, characterized by striking changes in timbre between records. While the bottom seems a bit cavernous, central baritone is clear but somewhat guttural, and as soon as it ascends through the passage (note the "Verdorre nicht!" In the first song on the album) the sound is close, it loses vibration and afalseta for lack of shading required. At some point he even has the impression that we are listening to a tenor short (the rise of "Wie mir doch die and lt W gefällt!" in the second). In "Ich hab ein Messer glühend" with its rough expressionistic writing, the upper register is very needed and the perceived open issue is a little squeaky voice for a baritone. The severity of the cycle "Kindertotenlieder" is reflected in the position, which is more comfortable for the singer and allows you to their fullest record, shading and expressive.
These technical problems limited its ability to slightly thin the ring, but still says it takes the text and even their color to accentuate inequalities in changes in tone and humor. In any case it is a unique voice that conveys emotion and interpreter is especially fortunate when it comes to suggesting a mood of introspection and hallucinations (central section "Ich bin ausgegangen in stiller Nacht" from "Die zwei blauen Augen von meinem Schatz") or the disappointment of "Kindertotenlieder." In the first of its way to link them is a little marble, which in some way a part of their issuance. The singer conveys a sincere pathos in "Wen dein Mutterlein" and "Oft Denk 'ich, sie sind nur ausgegangen." For the simplicity of gravity moves from tenderness, probably in "In diesem Wetter, in diesem Braus" where more exciting is his song (hear this whispering how the final "Haus").
These technical problems limited its ability to slightly thin the ring, but still says it takes the text and even their color to accentuate inequalities in changes in tone and humor. In any case it is a unique voice that conveys emotion and interpreter is especially fortunate when it comes to suggesting a mood of introspection and hallucinations (central section "Ich bin ausgegangen in stiller Nacht" from "Die zwei blauen Augen von meinem Schatz") or the disappointment of "Kindertotenlieder." In the first of its way to link them is a little marble, which in some way a part of their issuance. The singer conveys a sincere pathos in "Wen dein Mutterlein" and "Oft Denk 'ich, sie sind nur ausgegangen." For the simplicity of gravity moves from tenderness, probably in "In diesem Wetter, in diesem Braus" where more exciting is his song (hear this whispering how the final "Haus").
The songs from the series "Das Knaben Wunderhorn" Håkan Hagegård offers no personality so recognizably, in part because his voice is more "normal." Ring clear and pleasant but a little haughty, the bass is unobtrusive and some jumping, Revelge "and" Der Tambourg'sell "penalize its upper register. In the humorous sermon San Antonio, although the execution is notable for its delicacy, is a bit serious and repeated some words that the singer would call chiaroscuro not apply. In general, the interpreter captures the popular tone of this series (especially in "The Drummer") putting the robust simplicity of expression word analysis, although much less effective disdains color and intensity variations. Is particularly subtle and evocative lyrical sections of "Der Schildwache Nachtlied" despite any appearance of falsetto at the end.
Accompanying Bertini however, is the great attraction of the record. Sleek and imaginative in how many points are considered. First, above all can sing with the soloist. Thus, at the beginning of "Die zwei blauen Augen von meinem Schatz" in "Da ich musste Abschied ..." or wrapped in dreamy textures baritone overnights in the Song of the sentinel . The magnificent recording to appreciate also the work in the instrumental solos, which can add a touch of pathos or make an ironic commentary to the text. For example, touching the whisper of the clarinet in the last section of Lied above. Bertini not stay in the dissection of rings, a common occurrence in the current conductors, or highlight certain details of the orchestration, but always succeeds in finding the expressive color of each song - something that is much more important. Compare the brief postlude of "Ging heut morgen übers Feld", a comment full of melancholy, with the blackness of the lower strings reflecting the absolute resignation to conclude Lieder eines fahrenden Gesellen . The richness of timbres requiring the music of the "Wunderhorn" by Mahler, as close to folk style of Dvorak, is amply satisfied. For example, in the woods screaming "Revelge", which become sinister in "Der Tambourgesell", including a ghostly bass clarinet. It also highlights the particular Mahler makes use of percussion and metal, perfectly translated by the baton, most sarcastic and insightful than just bulky. Conversely, the first two Lieder of Comrade Errante, they characterized by bright colors, light and upbeat. In cycle more melancholy, the "Kidertotenlieder" Bertini shows found equally at home with the most breath symphonic, but always tried to chamber music on a scale commensurate with its intimate atmosphere (the interrogative interventions string "Nun seh 'ich wohl"). The wood and horn have that color characteristic of Mahler, without leaving the warmth romantic, and introduces a note of ambiguity and instability expressive music announcing the new century. Lyric first and foremost, Bertini lacks a bit of roughness in the first four stanzas of "In diesem Wetter, in diesem Braus" but in the comforting epilogue (horn and string) almost makes you cry. Music that gets to where the words only point.
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