The programme follows the well-tried path of a representative song-recital: something old to open (here Purcell), nineteenth-century Lieder to follow, then a more modern touch in the second half, and a national group (in this instance Canadian) to bring such a concert to an appropriate conclusion. It works well, though these days we tend to look for some theme or thread to make the choice of Schubert songs less arbitrary (with Brahms it seems not to matter so much).
Attention naturally focuses on what is unusual. Honegger's Saluste du Bartas is a miniature song-cycle about the sixteenth-century Gascon poet-turned-soldier, and in six short lyrics depicts various episodes (''Le depart'' in nonchalant compound time, ''La promenade'' a gentle saunter, ''Nerac en fete'' a darting, quicksilver play of light), all with charm and lively invention. Keith Bissell's folk-song settings are also pleasing, while the catchy rhythms and high spirits of Godfrey Ridout's song make it a perfect encore piece. Then, returning to the start of the recital, we appreciate still more keenly the depth and intensity of Purcell's most dramatically expressive setting of Colonel Heveningham's If music be the food of love.
It is sung with fine tone, assured technique and strong feeling. Catherine Robbin must be tired of being told that she sounds like Dame Janet Baker, but so she does (and after all the remark is not uncomplimentary). To her own individuality, the recording does less than justice, for the voice is not placed so as to give it proper immediacy. Compare items from the Hyperion Schubert Edition: both Felicity Lott (2/94) and Brigitte Fassbaender (8/91) are recorded with much more presence. The comparisons also raise other matters, for Graham Johnson in the Schubert Edition catches far more of the magical light and shade in the fiendishly difficult piano part in Suleika II, and in Der Konig in Thule he and Fassbaender bring a more flexible touch that compels attention. As for attention to the printed notes in the leaflet, that is given only at the cost of much squinting or manipulation of the magnifying glass. We are informed that texts can be obtained on application: in larger print, one trusts.'