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Classical Source |
Reviewed by Thomas Phillips |
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Liederabend: New York, Carnegie Hall, 20. Januar 2018 |
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Jonas Kaufmann & Helmut Deutsch at Carnegie Hall –
Schubert’s Die schöne Müllerin
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Helmut Deutsch is one of the greatest collaborative pianists. His ability to
diversify and inflect even the most repetitive figuration truly transformed
this Carnegie Hall performance of Die schöne Müllerin with Jonas Kauffman.
Deutsch also shone in the introductions and epilogues; the opening bars of
‘Der Neugierige’ have never been more inquisitive. Kaufmann himself was in
exceptionally good voice. He reserved his Wagnerian heft for only the most
impactful moments and generally worked in softer dynamics and head voice. He
possesses a rare ability to float in the upper register without losing the
clarity and meaning of the text, and was also impulsive and physically
demonstrative when required, presenting Schubert’s cycle with abrupt
transitions, from declamation to introspection, and sophisticated rubato.
Die schöne Müllerin has an evolving story-line, although Schubert’s
settings are not without lulls during the telling. However, Kaufmann’s
less-violent ‘Mein’ than is often heard made the cycle’s mid-point a bit
sleepy. One can admire such uncommon delicacy, but it resulted in some
monotony; ‘Der Jäger’ felt perfunctory, but the attacca into ‘Eifersucht und
Stolz’ powerfully reflected the Hunter’s relentlessness. The four encores
were all by Schubert: ‘Der Jüngling an der Quelle’ (D300), ‘Der Musensohn’
(D764), ‘Die Forelle’ (D550) and, from Winterreise, ‘Der Lindenbaum’. The
audience would have stayed for more.
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