Von Otter has given us some pretty dodgy material of late – that kitschy Christmas album‚ and her misbegotten crossover collaboration with Elvis Costello – so it’s good to welcome her back to ‘home’ territory with this delightful recital of art­songs. Neither Meyerbeer’s nor Spohr’s are over­represented in the record catalogues‚ and while their efforts in the genre are not to be compared with those of their younger contemporaries Schubert and Schumann‚ this is music of considerable charm; salon music‚ yes‚ but of a superior kind. Certainly‚ the shade of Schubert hovers over Meyerbeer’s Komm du schönes Fischermädchen with its lilting barcarolle­like accompaniment‚ Le voeu pendant l’orage (echoes of Erlkönig here as Tan whips up a storm in the piano part) and most obviously in Hirtenlied for voice‚ clarinet (the mellifluous Eric Hoeprich) and piano. It’s not a masterpiece in the league of Schubert’s Shepherd on the Rock‚ but von Otter‚ Hoeprich and Tan make the strongest possible case for it. Few song collectors‚ however‚ will be able to resist the twinkle in von Otter’s voice in her selection of seven songs from Meyerbeer’s anthology‚ 40 Melodies‚ published by Brandus et Cie in 1850. In Mina (Song of the Venetian Gondolier)‚ and La barque légère she is a witty story­teller – I love her exclamation of surprise and alarm as the shepherdess Lise watches her beloved Lucas navigating through a storm – and‚ as always with this multilingual singer‚ words are given full value. For a bit of variety‚ von Otter is joined by her compatriots‚ Christina Högman and Kristina Hammarström‚ in the touching a capella trio Prière d’enfants. The Beethoven group includes a handful of his best loved songs: the funereal ode‚ In questa tomba oscura – gravely beautiful; Der Kuss – a masterpiece of comedy in song; the yearning Adelaide – urgently sung; and Seufzer eines Ungeliebten (Sigh of an Unloved One)‚ WoO118‚ whose concluding section is the theme Beethoven used for his Choral Fantasia. Spohr’s Six German Songs with violin and piano accompaniment conclude the programme. They are this prolific but now almost forgotten composer’s Op 154‚ published in 1856‚ long after Schubert’s death. I imagine that not a few Lieder connoisseurs will be somewhat underwhelmed by Spohr’s bland‚ undramatic setting of Goethe’s Erlkönig‚ but von Otter characterises its three protagonists with her customary theatrical flair. This is not the most memorable music‚ but von Otter and Tan are to be congratulated for exploring the byways of the repertoire in this way. I shall certainly return to this record often. The sound quality is superb.