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Presto Classical, 11th January 2019 |
by Katherine Cooper |
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Wolf's Italienisches Liederbuch from Jonas Kaufmann, Diana Damrau and Helmut Deutsch |
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‘Even
tiny things can delight us’, observes the heroine of Hugo Wolf’s
Italienisches Liederbuch in her very first line – a sentiment which
underpins this entire sequence of 46 songs setting Paul Heyse’s German
translations of anonymous Italian love-poems which run the gamut from
exalted quasi-religious meditation to pragmatic bathos, few of them clocking
in at more than two minutes. This new live recording from a concert in Essen
last year features two stars who are particularly well-suited to its blend
of Italianate earthiness and Teutonic Romanticism: Diana Damrau and Jonas
Kaufmann, two German singers who’ve had as much success in bel canto (her)
and verismo (him) as in their signature Strauss and Wagner roles.
Though I count myself lucky to have snagged a ticket for the London leg of
the tour at the Barbican last February, I have to say that my overriding
impression on listening to the album is that it works even better on CD (or
download, if you prefer!): both Kaufmann and Damrau tend to focus on tragic
roles on stage, and in concert there was a slightly awkward sense of them
playing to the gallery in the comic songs as if to emphasise that a decade
of Lucias, Siegmunds and Cavaradossis didn’t preclude being able to let
their hair down when required. Refreshingly, only the best of that comes
across on the recording: the wit and interplay between the two still
registers loud and clear thanks to both singers’ crisp diction and canny
phrasing, but the comedy only broadens into vocal slapstick when occasion
really demands. (Try, for instance, the song about a lecherous monk talking
his way into a love interest’s bedroom to ‘hear confession’, where
Kaufmann’s assumption of a thin, peevish character-tenor sound for the
girl’s protective father and a pseudo-bass gravitas worthy of John Tomlinson
for the lusty cleric is both genuinely funny and technically quite
astonishing).
The material itself dictates that Kaufmann spends the
bulk of his time playing the straight man to Damrau’s perky super-soubrette,
and he does it quite beautifully, making liberal use of his trademark
weightless pianissimos and dark, covered sound, especially in the hymn-like
numbers such as ‘Sterb ich, so hüllt in Blumen’ and ‘Ihr seid die
Allerschönste’. On the few occasions when he’s called upon to provide quirky
comedy, though, he does so with lightly-worn panache, for instance in ‘Ich
ließ mir sagen’ in which reports of a spurned lover starving himself turn
out to be greatly exaggerated (the man in question is in fact dealing with
heartbreak by eating his way through the larder every evening!), or the
ill-conceived and possibly tipsy serenade ‘Ein Ständchen euch zu bringen’
early on in the sequence. Damrau, meanwhile, is on fantastically sassy form,
whether calling out the fairweather boyfriend who seeks out something
spicier on high days and holidays in ‘Nein, junger Herr’ or summoning almost
cabaret-style loucheness and a chanteuse-like chest-voice in ‘Du denkst mit
einem Fädchen’ to inform a suitor that she is indeed smitten - but not with
him.
But it’s no disrespect to either singer to observe that the
lion’s share of the wit and charm on this recording comes from the third
wheel in this dysfunctional love-story: that peerless song-pianist Helmut
Deutsch, who frequently has the last word thanks to Wolf’s exquisite little
postludes to many of these miniatures, and delivers it with an understated
wryness that’s responsible for most of the smatterings of audience laughter
on this live recording. Whether impersonating an aspiring violinist whose
ardour outstrips his talent in the coda of ‘Wie lange schon war immer mein
Verlangen’, dryly undercutting Damrau’s melodramatic paroxysms in ‘Was soll
der zorn’, or bringing the house down with gleeful ‘You go, girl!’ approval
at her brash recital of her catalogue of lovers in the very last song ’Ich
hab’ in Penna’, he all but steals the show.
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