A Liederspiel devised by Graham Johnson: songs and duets by Brahms, Schumann, Wolf, Mendelssohn, etc

A Liederspiel devised by Graham Johnson: songs and duets by Brahms, Schumann, Wolf, Mendelssohn, etc

The new and delightful professional friendship between Felicity Lott and Angelika Kirchschlager is celebrated in yet another tour de force of programming by Graham Johnson: a recital of no fewer then 46 numbers which follows the emotional cycle within Schumann’s Frauenliebe und Leben from lovestruck first meeting to loss and love eternal – but through different composers’ settings of the Chamisso poems, interwoven with songs by Wolf, and duets by Schumann, Mendelssohn and Brahms. This is a virtuoso concept, beautifully realised.

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5

Published: January 20, 2012 at 3:59 pm

COMPOSERS: A Liederspiel devised by Graham Johnson: songs and duets by Brahms,etc,Mendelssohn,Schumann,Wolf
LABELS: Hyperion
ALBUM TITLE: Women's Lives and Loves
WORKS: A Liederspiel devised by Graham Johnson: songs and duets
PERFORMER: Felicity Lott (soprano), Angelika Kirchschlager (mezzo-soprano), Graham Johnson (piano)
CATALOGUE NO: CDA 67563

The new and delightful professional friendship between Felicity Lott and Angelika Kirchschlager is celebrated in yet another tour de force of programming by Graham Johnson: a recital of no fewer then 46 numbers which follows the emotional cycle within Schumann’s Frauenliebe und Leben from lovestruck first meeting to loss and love eternal – but through different composers’ settings of the Chamisso poems, interwoven with songs by Wolf, and duets by Schumann, Mendelssohn and Brahms. This is a virtuoso concept, beautifully realised. Glimpses of a Woman’s Love and Life are reflected and refracted through shifting contexts and responses, as accompaniments, readings, songs and duets hurtle one after another in a heady momentum. Sometimes they interleave, and even magically counterpoint with each other.

But I’ll leave you to experience the conjuring for yourself. For conjuring it is: any element of the didactic is totally absent in this seamless garment of word and music. Fragments of the Schumann we know and love surface and return like a mantra embedding itself deeper and deeper into the subsconscious, as a point of reference for the outstanding performances of all three musicians. And, at the end, Johnson’s postlude to the Schumann elides into the entwined voices of Brahms’s ‘Klänge’ – only to return as a curtain slowly falling at the end of a recital as near perfection as I know. Hilary Finch

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