Two great artists at the peak of their powers, the soprano Dorothea Röschmann and the pianist Dame Mitsuko Uchida perform songs by Schumann (Liederkreis, Op 39 and Frauenliebe und Leben) and Alban Berg (Seven Early Songs).
Three great cycles on the subject of love and life.
Schumann s great love for Clara Wieck is at the heart of Liederkreis, songs he described in a letter to her as his most romantic music ever, with much of you in it.
The artists toured this program extensively and this performance was captured live at Wigmore Hall. The reviews were glowing and this program of songs about love touched the hearts of the audience wherever it was performed.
A rare opportunity to hear Mitsuko Uchida as song partner, something she adores.
Most Helpful Customer Reviews
I was so taken by Dorothea Röschmann's "Portraits" album, which featured, amongst others, some of Schumann's songs portraying women, that I was keen to hear this latest collaboration with Dame Mitsuko Uchida in Schumann's two most celebrated song cycles with the Berg "Seven Early Songs" as a bonus. Dame Mitsuko is of course herself a Schumann expert so this partnership augured well - and I was not disappointed.
We'll take for granted the lovely, limpid, not-too-close sound provided by Decca. The singing is exquisite; Röschmann has a silvery, soaring soprano in the Lucia Popp/Margaret Price category, light, bright, pure and shimmering with easy top notes and real intensity without a hint of wobble or scratch. Her diction is of course ideal and she sings with real passion. Perhaps the most beautiful thing here is her rendering of "Mondnacht", where the delicacy of Uchida's pianism matches Röschmann's poise. Hear, too, the skill with...
This disc is a pure pleasure from beginning to end. Roschmann's voice is gorgeous, a superb instrument with a top range that opens up as it ascends, yet is perfectly controlled with exquisite pianissimos. Her vibrato is used to energize the tone and bring passion to the texts. Uchida supports and complements the voice with uncommon alertness and sensitivity, although I might wish for a bit more assertiveness in some of the phrases which could bring more counterweight to the voice. The Liederkreis opus 39 is interpreted with the requisite melancholy. This Frauenliebe und leben is ideal, becoming my favorite interpretation next to the one by Edith Mathis and Christophe Eschenbach. While the cycle is usually sung by mezzos, Roschmann uses the full color of her lower register bringing a womanly quality to the portrait of a woman in love.
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