Friday, January 17, 2020

Christian Gerhaher overview: Interpretation of Mahler songs ...

Christian Gerhaher wearing a black shirt © supplied by way of night general

Christian Gerhaher has for a long time been at the forefront of lieder singers, although extra recently he has additionally gained popularity of impressive interpretations of operatic roles, especially Amfortas in Parsifal and the title function in Wozzeck.

Remarkably he has succeeded in conserving his meticulous method to lieder. actual, the slightly startling manner he has of moulding a line is a virtually operatic gesture, however dramatic start is not incompatible with the paintings of lieder and it definitely seizes the attention.

Nowhere did it serve him better during this all-Mahler programme than within the songs from Des Knaben Wunderhorn. Reveille is a bone-rattling march of demise and military swagger, but the eventual anger and bitterness of the troopers woken early for their remaining day of motion was overwhelming.

at midnight from the Ruckert lieder additionally grippingly depicted each the bleakness of the middle of the night watch and the last committal to a better energy. It became positioned here between I Breathed a mild perfume — the titular first line a simple exhalation, the last expressively suggesting the craving implicit in "the mild fragrance of affection" — and a rendering of if you Love for beauty that counterposed the fun of the outer world with the inner truth of precise love.

No much less revelatory were both movements from Das Lied von der Erde, using Mahler's own piano version, first published as recently as 1989. the world-weariness of The Lonely One in Autumn and The Farewell, with its ultimate "Ewig" (perpetually) hovering between lifestyles and dying, were deeply relocating. One misses Mahler's evocative scoring, of route, nonetheless it's unattainable to imagine its dissimilar layers extra convincingly realised than with the aid of Gerold Huber, who accompanied superbly during.

Gerhaher's animated projection of text inevitably remembers the tremendous Dietrich Fischer-Dieskau and the immediacy of every line, as poignant as it is arresting, marks him out as a singer of comparable

stature.

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