SCHUBERT Heimweh Songs (Anna Lucia Richter)
View record and artist detailsRecord and Artist Details
Composer or Director: Franz Schubert
Genre:
Vocal
Label: Pentatone
Magazine Review Date: 05/2019
Media Format: Super Audio CD
Media Runtime: 81
Mastering:
DDD
Catalogue Number: PTC5186 722
Tracks:
Composition | Artist Credit |
---|---|
An den Mond (first version) |
Franz Schubert, Composer
Anna Lucia Richter, Soprano Franz Schubert, Composer Gerold Huber, Piano |
(Der) Zwerg |
Franz Schubert, Composer
Anna Lucia Richter, Soprano Franz Schubert, Composer Gerold Huber, Piano |
Am mein Herz |
Franz Schubert, Composer
Anna Lucia Richter, Soprano Franz Schubert, Composer Gerold Huber, Piano |
Nur wer Sehnsucht kennt |
Franz Schubert, Composer
Anna Lucia Richter, Soprano Franz Schubert, Composer Gerold Huber, Piano |
Heiss mich nicht reden (Mignon I second version) |
Franz Schubert, Composer
Anna Lucia Richter, Soprano Franz Schubert, Composer Gerold Huber, Piano |
So lasst mich scheinen (Mignon II second version) |
Franz Schubert, Composer
Anna Lucia Richter, Soprano Franz Schubert, Composer Gerold Huber, Piano |
(Das) Heimweh |
Franz Schubert, Composer
Anna Lucia Richter, Soprano Franz Schubert, Composer Gerold Huber, Piano |
Totengräbers Heimweh |
Franz Schubert, Composer
Anna Lucia Richter, Soprano Franz Schubert, Composer Gerold Huber, Piano |
Viola |
Franz Schubert, Composer
Anna Lucia Richter, Soprano Franz Schubert, Composer Gerold Huber, Piano |
Erster Verlust |
Franz Schubert, Composer
Anna Lucia Richter, Soprano Franz Schubert, Composer Gerold Huber, Piano |
Raste Krieger!, Krieg ist uns, 'Ellens Gesang I' |
Franz Schubert, Composer
Anna Lucia Richter, Soprano Franz Schubert, Composer Gerold Huber, Piano |
Jäger, ruhe von der Jagd, 'Ellens Gesang II' |
Franz Schubert, Composer
Anna Lucia Richter, Soprano Franz Schubert, Composer Gerold Huber, Piano |
Ave Maria, 'Ellens Gesang III' |
Franz Schubert, Composer
Anna Lucia Richter, Soprano Franz Schubert, Composer Gerold Huber, Piano |
Abschied von der Erde |
Franz Schubert, Composer
Anna Lucia Richter, Soprano Franz Schubert, Composer Gerold Huber, Piano |
(Der) Hirt auf dem Felsen |
Franz Schubert, Composer
Anna Lucia Richter, Soprano Franz Schubert, Composer Gerold Huber, Piano Matthias Schorn, Clarinet |
Author: Richard Wigmore
Richter is no less touching in Ellen’s songs from Scott’s The Lady of the Lake. She floats a limpid bel canto line in ‘Ave Maria’, the repeated accompanying figuration perfectly gauged by Gerold Huber, and brings a tender, confiding intimacy to Ellen’s two lullabies. ‘The echoes of a hunting song in a beautiful dream’, wrote Schubert’s friend Anton Ottenwalt of ‘Jäger, ruhe von der Jagd’. Richter’s singing, held down to pp and ppp, makes his point.
Two of the songs chosen by Richter, the macabre ballad ‘Der Zwerg’ and ‘Totengräbers Heimweh’, in which an old gravedigger philosophises on the meaning of life and death, are anything but natural territory for a light lyric soprano. Yet in both songs her musical intelligence and dramatic use of the text go far to compensating for a lack of tonal depth. She burns into her consonants as only a native German can in the despairing opening of ‘Totengräbers Heimweh’ and conjures an unearthly stillness in the gravedigger’s blissful embrace of death. I wasn’t quite convinced by Richter’s ‘wicked witch’ voice for the tormented dwarf in ‘Der Zwerg’. But from her pale, almost girlish tones at the twilit opening, she catches the song’s eeriness and mounting anguish without ever forcing, abetted by Huber’s characteristically subtle coloration.
The floral ballad ‘Viola’, to a gushingly sentimental poem by Schubert’s friend Franz von Schober, is always tricky to bring off. Singer and pianist ensure it works here. Richter’s purity of line and tone give the chant-like refrain an ideal fragile tenderness; and, buoyed by Huber’s ever-lively rhythmic sense, she vividly dramatises the successive phases of the violet’s plight. Richter is in her element, too, in ‘Der Hirt auf dem Felsen’. In tandem with Matthias Schorn’s sensitive clarinet, she delicately captures the shepherd’s shifts of mood in the opening section, and then skips and frolics blithely in anticipation of a spring that the composer never lived to see. It sets the seal on a delectable recital from a young soprano whose combination of vocal freshness and unforced expressiveness make her a natural in Schubert.
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