Julian Prégardien: An die Geliebte
View record and artist detailsRecord and Artist Details
Composer or Director: Carl Maria von Weber, Hugo (Filipp Jakob) Wolf, Richard Strauss, Ludwig van Beethoven
Genre:
Vocal
Label: Myrios
Magazine Review Date: AW2014
Media Format: Super Audio CD
Media Runtime: 60
Mastering:
DDD
Catalogue Number: MYR012
Tracks:
Composition | Artist Credit |
---|---|
An die ferne Geliebte |
Ludwig van Beethoven, Composer
Christoph Schnackertz, Piano Julian Prégardien, Tenor Ludwig van Beethoven, Composer |
Die Temperamente bei dem Verluste der Geliebten |
Carl Maria von Weber, Composer
Carl Maria von Weber, Composer Christoph Schnackertz, Piano Julian Prégardien, Tenor |
Mädchenblumen |
Richard Strauss, Composer
Christoph Schnackertz, Piano Julian Prégardien, Tenor Richard Strauss, Composer |
Mörike Lieder |
Hugo (Filipp Jakob) Wolf, Composer
Christoph Schnackertz, Piano Hugo (Filipp Jakob) Wolf, Composer Julian Prégardien, Tenor |
Resignation |
Ludwig van Beethoven, Composer
Christoph Schnackertz, Piano Julian Prégardien, Tenor Ludwig van Beethoven, Composer |
Author: Richard Wigmore
As a counterfoil to the Beethoven, Prégardien offers Weber’s cycle in which four contrasting lovers react to the loss of their beloved, with emotions ranging from jack-the-lad bravado, via self-pity and melodramatic indignation, to the easy-come, easy-go protagonist of ‘Der Gleichmütige’, all too glad to be free of his tiresome girlfriend. Prégardien steers a fine line between vivid characterisation and caricature, never coarsening his tone for comic effect.
The inclusion of Strauss’s relatively rare Mädchenblumen may raise an eyebrow, though the composer actually dedicated these ‘Maiden Blossoms’ to a tenor friend. Once or twice here Prégardien’s tone tightens under pressure. But he and Schnackertz are acutely alive to mood and character, from the serene tenderness of ‘Kornblumen’, through the growing ardour of ‘Epheu’ to the mysterious, diaphanous ‘Wasserrose’. The choice of Wolf Mörike songs, too, steers away from the obvious. Prégardien is equally good in the mingled ardour and anxiety of ‘Lied eines Verliebten’, the shifts between soldierly swagger and drowsy homesickness in ‘Der Tambour’ (with an aching tenderness at ‘Da scheint der Mond’) and the rapt, starlit close of ‘An die Geliebte’. Schnackertz matches the tenor all the way in imagination, not least in the darting virtuosity of the seldom-heard ‘Lied vom Winde’, a whirling keyboard scherzo with vocal obbligato. This is my kind of Wolf singing – direct, unexaggerated, always minutely responsive to what the composer asks for – and sets the seal on a notable debut recital from a young tenor to watch.
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