Swedish-born mezzo-soprano Anne Sofie von Otter delivers an outstanding collection of works with her new CD, offering a look into the repertoire of three composers not primarily remembered for their lieder. Von Otter’s song
choices are delightful"Beethoven/Meyerbeer/Spohr -- Liede
"Anne Sofie von Otter (Archiv Produktion)Review by Mark Vogel
mvogel@starbulletin.com
These works, from the late 18th and early 19th centuries, are a delightful discovery, and von Otter demonstrates a command of the material through impeccable diction, a clear understanding and delivery of the text and an agile, expressive voice.
Giacomo Meyerbeer's "La Fille de l'air (Daughter of the Air)" brings to mind the sparkling orchestrations in Meyerbeer's most famous work, the 1836 opera "Les Huguenots." Here, von Otter delightfully plays off of the fluttering accompaniment figures, evoking the "first flush of youth." And in "Le Voeu pendant l'orage (The Vow During the Storm)," accompanist Melvyn Tan adds plenty of Sturm und Drang as sweeping figures dramatically portray an ominous storm.
In a way, it's unfortunate that Beethoven is most popularly known for dramatic works like the fateful Symphony No. 5 and the "Appassionata" piano sonata. Fortunately, artists like von Otter recognize the genius' lighter side with some delightful, even funny lieder. Beethoven's setting of Goethe's "Maigesang (Maying Song)" is joyous and buoyant. And the teasing "Der Kuss (The Kiss)" is a treat as von Otter capitalizes on Beethoven's playful setting of the text.
The least known of the three composers is Louis Spohr (1784-1859), whose career as a violinist greatly influenced his compositions. The German composer is somewhat known for expanding the expressive range of accompaniments with new combinations of instruments. Here we are offered a set of six works for middle voice, all accompanied by violin and piano.
The violin used in the Spohr set is a 1722 Stradivari. Instead of the rich, full-toned sounds of the modern-day piano, we hear its predecessor, the thinner and more percussive-sounding fortepiano. This offers a fascinating look at how the repertoire might have sounded in the day it was composed.
The fortepiano works especially well in some of the stormier accompaniments, where gusts of wind can almost be heard in the raspy quality of this primitive instrument. These moments, along with von Otter's commanding musicianship, make this recording a true gem.
Click for online
calendars and events.
