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The Times, February 21, 2014 |
Geoff Brown |
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Jonas Kaufmann/Helmut Deutsch: Winterreise |
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At
least the protagonist of Schubert’s song cycle Winterreise doesn’t have to
contend with flooding. But in every other way fate hits him on the chin
during his winter journey. His love is unrequited. The weather’s freezing,
along with his tears. And what lies ahead? Only the graveyard, or the
organ-grinder — the mysterious figure of the final song, grinding with numb
fingers.
For tenor singers, and some baritones, the cycle marks the
pinnacle of the lieder repertoire. It’s one climbed with trepidation even by
Kaufmann, whose recording of the work coincides with an upcoming live
performance at the Royal Opera House on April 6, also accompanied by Deutsch
(already sold out). Securely enthroned as the world’s delight, especially in
opera, the German tenor’s stage experience shows in his vivid emotions and
searing fortissimos. Lieder skills come through even more strongly. Words
are clearly enunciated. Dynamics are carefully graded, along with the arc of
each song. There’s also his close rapport with the responsive Deutsch.
Every singer offers different timbres. Kaufmann’s voice comes with dark
shadows and a slight edge, invaluable when bitterness swamps the poet:
listen to him in Wasserflut spitting out the final line about his beloved’s
house. He can also make his voice quiet and white as milk, perfect for
purring over happy memories before the ructions start. Flexibility and
textual clarity are the two assets that put this Winterreise in the top
class.
His interpretation also gives us things to think about. Some
of the notation isn’t what we expect — the result of consulting Schubert’s
autograph score. Ears might also twitch over the treatment of individual
words. In the booklet notes, singer and pianist both offer different
interpretations of the final song, with Deutsch’s more benign than
Kaufmann’s. But the way Kaufmann stresses the last word clearly suggests
that organ-grinder’s grinding brings only pain, for eternity.
Sony’s
studio recording, made over five days, surrounds both artists in a friendly
acoustic. Possibly too much manicuring went on: compared with a live
recording such as Matthias Goerne and Alfred Brendel’s from 2004, this
Winterreise does seem a fraction airless. But then Goerne’s anguished
syllables are murky beasts, while Kaufmann’s zing home every time. It’s your
choice.
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