Mira Zakai Song Recital

Record and Artist Details

Composer or Director: Anton Webern, Gustav Mahler, George Frideric Handel, Alban Berg, Maurice Ravel

Label: Classics

Media Format: Cassette

Mastering:

DDD

Catalogue Number: 27021-4

Tracks:

Composition Artist Credit
(5) Lieder aus 'Der siebente Ring' Mira Zakai
Yonathan Zak
Anton Webern Composer
Lieder und Gesänge Mira Zakai
Gustav Mahler Composer
Yonathan Zak
Lieder und Gesänge Gustav Mahler Composer
Yonathan Zak
Mira Zakai
Lieder und Gesänge Yonathan Zak
Gustav Mahler Composer
Mira Zakai
Lieder und Gesänge Mira Zakai
Gustav Mahler Composer
Yonathan Zak
Mi, palpita il cor Mira Zakai
Adel Shalev
Avner Biron
George Frideric Handel Composer
Michael Haran
Lieder und Gesänge Gustav Mahler Composer
Yonathan Zak
Mira Zakai
(4) Songs Yonathan Zak
Alban Berg Composer
Mira Zakai
(3) Chansons madécasses Avner Biron
Yonathan Zak
Mira Zakai
Michael Haran
Maurice Ravel Composer
Lieder und Gesänge Mira Zakai
Gustav Mahler Composer
Yonathan Zak

Composer or Director: Gustav Mahler, Maurice Ravel, George Frideric Handel, Anton Webern, Alban Berg

Label: Classics

Media Format: CD or Download

Mastering:

DDD

Catalogue Number: 37021-2

Tracks:

Composition Artist Credit
Lieder und Gesänge Yonathan Zak
Gustav Mahler Composer
Mira Zakai
Lieder und Gesänge Yonathan Zak
Gustav Mahler Composer
Mira Zakai
(3) Chansons madécasses Avner Biron
Yonathan Zak
Maurice Ravel Composer
Michael Haran
Mira Zakai
Mi, palpita il cor Michael Haran
Mira Zakai
Adel Shalev
Avner Biron
George Frideric Handel Composer
Lieder und Gesänge Mira Zakai
Gustav Mahler Composer
Yonathan Zak
Lieder und Gesänge Yonathan Zak
Mira Zakai
Gustav Mahler Composer
(5) Lieder aus 'Der siebente Ring' Mira Zakai
Yonathan Zak
Anton Webern Composer
Lieder und Gesänge Yonathan Zak
Gustav Mahler Composer
Mira Zakai
Lieder und Gesänge Gustav Mahler Composer
Yonathan Zak
Mira Zakai
(4) Songs Yonathan Zak
Mira Zakai
Alban Berg Composer
It is not every day we hear a recital, recorded or live, from Mira Zakai, so it is a pity that this one is so poorly presented. The biographical information is four years out of date; there are no texts included with a recital for which there certainly should be; and the Handel cantata claims to be for forces which it patently is not. This is the alto, flute and continuo version: no oboe is present.
The clarity and sensuous physicality of Zakai's enunciation in the Ravel Chansons madecasses certainly compensates as far as understanding is concerned. The distinctive, resinous quality of this Israeli contralto catches every flecking turn, each tiny portamento, with moments of warm, tremulous vibrato, even if there are moments, too, of thinness at the quiet height of a phrase.
Flute and piano tend to be over-recessed, and Yonathan Zak is too self-effacing in his Mahler accompaniments, especially in the two early songs from Des Knaben Wunderhorn (''Ablosung im Sommer'' and ''Scheiden und Meiden''). Zakai, though, tenderly and hauntingly shapes the melody of ''Phantasie'' and brings a nicely veiled ardour to ''Scheiden und Meiden''.
She is at her best in Berg's early Vier Lieder, Op 2. She makes a disturbing lullaby of the first Hebbel setting, ''Schlafen, schlafen'', leaning against the piano's rich chromaticism, just as she presses down on the drooping flats of ''Schlafend tragt man mich'' to convey a sense of emotional exile. For the last piece, ''Warm die Lufte'', Berg's first wholeheartedly atonal song, Zakai creates a potent sense of the fevered, hallucinatory heat of summer night.
For Webern she artfully fuses intimacy with the songs' brief insecurity; for Handel, on the other hand, a new public persona emerges, the voice full-bodied and robustly agile in fioritura.'

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