I can claim possibly some very small influence on this record. Some years ago Jessye Norman broke the last and very difficult phrase of Ganymed with a breath. I then pointed out in a review that Gerald Moore (in Singer and Accompanist—London: 1953) had urged singers to phrase it in one—as Norman has done in recitals, and now on record, ever since. Cause and effect? I don't know.
This is, in any case, one of the most rewarding performances on the record, sung with conviction and, throughout, with long-breathed phrasing. As a whole the reflective and grand songs—Die allmacht, An die Natur, Auflosung—fare most successfully through the assets of unforced tone and intelligent word-painting. Where a story is being told, the soprano follows her current practice of overdoing the emotions. The four voices of Erlkonig are clearly characterized by changes in colour, but in the interests of dramatic projection, Jessye Norman's singing becomes so over-charged and choppy as to defeat her own object. I see that I commented in February that her earlier (1973) record of Der Zwerg (Philips 412 366-1PS, 2/85) was under-characterized; now I have to be contrary and say that it seems to have gone to the other extreme. On the other hand Gretchen am Spinnrade is nobly and movingly done without any kind of exaggeration, and—as elsewhere—with some peculiarly perceptive piano playing from Philip Moll, and Rostlose Liebe has just the right Schwung. Some songs are transposed a semitone down from the soprano key; even so, high notes tend to catch the microphone a little uncomfortably in this otherwise well-engineered recording. Under 42 minutes of music seems short measure even on an LP; on CD, it will be even more so. I do feel the companies should look at this matter; far too many records today are ungenerously filled.'