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I listened to most of the Röschmann recital last night. Very much a 'Seefried' programme. Hmm. Mixed feelings. In much of the Schubert I found she 'oversang' and (don't laugh Jane) I found her vibrato rather intrusive. The rather operatic Gretchen am Spinnrad' came of best I thought. But best of all was the Richard Strauss group. She has that ability to sing the very top notes apparently effortlessly, a quality needed in those songs. Befreit was especially lovely, without quite erasing memories of Lisa della Casa in that song.
I'm not sure I'll buy it but good to have heard it anyway. Thanks for the suggestion.
Thanks a lot, Chris, for providing us with your thoughts about Roschmann's first Lieder CD. As I said, I found her convincing, in her own terms. She does not try to "compete" the calssical Lieder singers. She...express herself, sometimes effectively. She has a very nice voice, though, and with the high notes...as a plus.
Now, I wish to bring to your attention the second installment of another mostly Operatic singer too, namely Matthew Rose's Schwanengeswang, on Stone Records again, but this time with the great M. Martineau on the piano. The advertising stuff claims that these two "have teamed up to produce a definitive recording"!
His first endeavour was the Winterreise, on Stone, with a new rising pianist Gary Matthewman. The British publications praised this recording enough. Gramophone went that far to compare him with...Hotter! BBC magazine was a bit more cautious, but positive. They called his voice a bit "sepulchral"!...
I have this recording and I found it impressive, definitely well produced and presented. In certain ways, they deliver these very unique Lieder with enough style and convinction. However, Rose, singing much lower than the original key, sounds a bit too deep but not that imposing, thus...less appealing (he is not Hotter and he is not Talvela, anyway).
So, Chris, if Spotify has this recording too, you may try it as well.
Parla, thanks for the Schwanengesang suggestion.
I think though that there is a problem with the far-downward transpositions needed by true basses. Even if the voice part sounds well it's very difficult for even a great accompanist to make the treble sparkle where needed (and in Schwanengesang there are plenty of such numbers). I have to make an exception for Hotter of course, but even in his recording (with Gerald Moore) there are songs where the piano sounds just too low for comfort.
Anyway, no sign of this recording on Spotify!
I suspected that Spotify might not have it available. Based on the good results of the Winterreise, I am contemplating the idea of purchasing even this one (also owing to Martineau).
I'll let you know, in good time..
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