There are so many talented singers now engaged in interpreting Lieder that standards have to be set high for any newcomer. To be sure Groop has a healthily strong voice which she deploys to honest purpose through a reasonable range, especially in such an outgoing song as Der Musensohn. In a generalized way, she has a feeling for words and the meaning of some of Schubert’s most popular songs, but just because she has chosen from among his best-known pieces, she comes across formidable competition from many others in the field and, by and large, fails to meet the challenge. When Groop does step outside the regular repertory she chooses Pax vobiscum, one of Schubert’s least attractive songs.
The main reservations arise from her unwillingness to sing at anything below mezzo forte. From the very first song, Fischerweise, the ear is almost assaulted, in a very closely-miked recording, by the mezzo’s robust singing and there’s little respite from then on. One song follows another with little differentiation in tone or colour. In consequence one becomes all too aware of a harshness on Groop’s tone which accords ill with good Lieder singing. Meeres Stille is one exception to these strictures.
Jansen plays for the most part with his customary discernment but even he sometimes seems affected by Groop’s failure to strive for inner illumination. At full price, this is a decided disappointment from an artist from whom much is expected.'