Cheryl Studer Salzburg Recital
View record and artist detailsRecord and Artist Details
Composer or Director: Richard Strauss, Franz Schubert, Claude Debussy
Label: DG
Magazine Review Date: 10/1993
Media Format: CD or Download
Media Runtime: 74
Mastering:
DDD
Catalogue Number: 437 784-2GH
Tracks:
| Composition | Artist Credit |
|---|---|
| Ganymed |
Franz Schubert, Composer
Cheryl Studer, Soprano Franz Schubert, Composer Irwin Gage, Piano |
| Im Frühling |
Franz Schubert, Composer
Cheryl Studer, Soprano Franz Schubert, Composer Irwin Gage, Piano |
| Nur wer die Sehnsucht kennt (fourth version) |
Franz Schubert, Composer
Cheryl Studer, Soprano Franz Schubert, Composer Irwin Gage, Piano |
| Gretchen am Spinnrade |
Franz Schubert, Composer
Cheryl Studer, Soprano Franz Schubert, Composer Irwin Gage, Piano |
| Rastlose Liebe |
Franz Schubert, Composer
Cheryl Studer, Soprano Franz Schubert, Composer Irwin Gage, Piano |
| Ariettes oubliées |
Claude Debussy, Composer
Cheryl Studer, Soprano Claude Debussy, Composer Irwin Gage, Piano |
| (8) Lieder aus Letzte Blätter, Movement: No. 1, Zueignung (orch 1940) |
Richard Strauss, Composer
Cheryl Studer, Soprano Irwin Gage, Piano Richard Strauss, Composer |
| (8) Lieder aus Letzte Blätter, Movement: No. 3, Die Nacht |
Richard Strauss, Composer
Cheryl Studer, Soprano Irwin Gage, Piano Richard Strauss, Composer |
| (8) Lieder aus Letzte Blätter, Movement: No. 8, Allerseelen |
Richard Strauss, Composer
Cheryl Studer, Soprano Irwin Gage, Piano Richard Strauss, Composer |
| (6) Lieder, Movement: No. 2, Ständchen |
Richard Strauss, Composer
Cheryl Studer, Soprano Irwin Gage, Piano Richard Strauss, Composer |
| (4) Lieder, Movement: No. 4, Morgen (wds. J H Mackay: orch 1897) |
Richard Strauss, Composer
Cheryl Studer, Soprano Irwin Gage, Piano Richard Strauss, Composer |
| (3) Lieder, Movement: No. 3, Nachtgang |
Richard Strauss, Composer
Cheryl Studer, Soprano Irwin Gage, Piano Richard Strauss, Composer |
| (5) Lieder, Movement: No. 1, Wiegenlied (wds. Dehmel: orch 1916) |
Richard Strauss, Composer
Cheryl Studer, Soprano Irwin Gage, Piano Richard Strauss, Composer |
| (3) Lieder, Movement: No. 2, Muttertändelei (wds. G A Bürger: orch 1 |
Richard Strauss, Composer
Cheryl Studer, Soprano Irwin Gage, Piano Richard Strauss, Composer |
| (5) Lieder, Movement: No. 2, Ich schwebe (wds. Henckell) |
Richard Strauss, Composer
Cheryl Studer, Soprano Irwin Gage, Piano Richard Strauss, Composer |
| (5) Lieder, Movement: No. 4, Winterweihe (wds. Henckell: orch 1918) |
Richard Strauss, Composer
Cheryl Studer, Soprano Irwin Gage, Piano Richard Strauss, Composer |
| (8) Lieder, Movement: No. 2, In goldener Fülle (wds. P Remer: 1901) |
Richard Strauss, Composer
Cheryl Studer, Soprano Irwin Gage, Piano Richard Strauss, Composer |
| (5) Kleine Lieder, Movement: No. 4, Waldesfahrt (wds. Heine) |
Richard Strauss, Composer
Cheryl Studer, Soprano Irwin Gage, Piano Richard Strauss, Composer |
| (5) Kleine Lieder, Movement: No. 5, Schlechtes Wetter (wds. Heine) |
Richard Strauss, Composer
Cheryl Studer, Soprano Irwin Gage, Piano Richard Strauss, Composer |
Author:
There's a bit of challenge here, a willingness to risk a little more portamento from the singer and a little more rubato from both singer and pianist than are quite 'modern', a certain daredevil incitement to snort Sentimentalisch! (or worse) rather than indifferently to applaud 'correctness'. This is so, at least in the Schubert group. Im Fruhling begins, and continues, with the more or less habitual responsiveness to modulation and nuance, but taking more time than usual to get back in the last verse, to the mood of the opening (without pretending that nothing has happened to make a difference in between); then, after a generously expansive ''den ganzen Sommer lang'', comes a repetition of the last two lines but very very slowly. In Nur wer die Sehnsucht kennt there is no public invasion of Mignon's privacy: she sings softly to herself, lingers sadly over the distant beloved, quickens the pace with the urgency of barely contained emotion, then leaves a moment's silence before returning to the opening desolations, which the pianist lingers over in the final bars. Sentimentalisch! Possibly; but also thoughtful, personal, and not travelling on tramlines or by conveyor belt.
The Ariettes oubliees are affectionately delicate in style. The first, ''C'est l'extase langoureuse'', is perhaps a little too swoony at the start, and the opening of ''Chevaux de bois'' might have been crisper. But there's character—fun in the ''queasy stomach and splitting head'', charming sleepiness as night falls. ''Green'', too, is beautifully sung, with the warmth of tone which it sometimes surprises us to find among the singer's many resources.
This concert at Salzburg was, as the notes say ''the last stop of a 1992 tour that resembled a royal progress from one musical capital to another''. We were perhaps insufficiently aware of the regality when she stopped off at Covent Garden, where it was the Richard Strauss group that made the strongest impression. Hearing Muttertandelei on disc brings back the sight as well as the sound—comical expressions, hands on hips at the end, a gesture or two in the postlude, and clear enjoyment in the house. I also remember the smartly clicking final consonants (''singt'', ''gemacht'') disturbing the flow of the Wiegenlied and Die Nacht. But there was, and is, lovely singing, and among the encores Ich schwebe wie auf Engelsschwingen is a miracle of airborne happiness. Irwin Gage, as ever, is an imaginative, stimulating accompanist and the balancing of voice and piano is finely judged.'
The Ariettes oubliees are affectionately delicate in style. The first, ''C'est l'extase langoureuse'', is perhaps a little too swoony at the start, and the opening of ''Chevaux de bois'' might have been crisper. But there's character—fun in the ''queasy stomach and splitting head'', charming sleepiness as night falls. ''Green'', too, is beautifully sung, with the warmth of tone which it sometimes surprises us to find among the singer's many resources.
This concert at Salzburg was, as the notes say ''the last stop of a 1992 tour that resembled a royal progress from one musical capital to another''. We were perhaps insufficiently aware of the regality when she stopped off at Covent Garden, where it was the Richard Strauss group that made the strongest impression. Hearing Muttertandelei on disc brings back the sight as well as the sound—comical expressions, hands on hips at the end, a gesture or two in the postlude, and clear enjoyment in the house. I also remember the smartly clicking final consonants (''singt'', ''gemacht'') disturbing the flow of the Wiegenlied and Die Nacht. But there was, and is, lovely singing, and among the encores Ich schwebe wie auf Engelsschwingen is a miracle of airborne happiness. Irwin Gage, as ever, is an imaginative, stimulating accompanist and the balancing of voice and piano is finely judged.'
Cheryl Studer Salzburg Recital
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