Elsner possesses a sappy, evenly produced tenor, allowing more heroic effects in the more forceful songs than some of his rivals, and he projects a fine line on his attractive tone. As an introduction to this immortal cycle at super-bargain price you will find little to object to in such a straightforward, unaffected reading, but judged by the highest standards it seriously fails in terms of imaginative use of the notes and words. So often, as in the second and 14th songs, I find a lack of rhythmic impetus and – this is partly the pianist’s fault – an uncomfortably staccato, fidgety, over-emphatic approach. There’s the right plangent touch in Die liebe Farbe and Trock’ne Blumen, but even here you won’t find the kind of inner illumination of text, the sense of spontaneous interpretation that so recommends the readings of Pregardien and Bostridge with their superior pianists.
If you can still find it, in the budget range I would suggest that you seek out the performance by Ian and Jennifer Partridge, still one of the most satisfying of the cycle overall. If not, you should save up for the full-price recordings by Schreier, Pregardien or Bostridge, in their different ways great tenor interpreters: the wait will be worthwhile. The recorded sound on the new CD is faultless.'