The recent untimely death of that stalwart artist, Jan DeGaetani, at the early age of 56 shocked her many admirers on both sides of the Atlantic, so I would have liked to have been able to recommend this Brahms recital—recorded six years ago—without reserve, but in all honesty the singing is simply neither secure nor idiomatic enough to give much pleasure, except in the Vier ernste Gesange. At this stage of her career DeGaetani's voice often sounds dry in tone and unsupported at the top, which occasionally leads her to be on the flat side of notes.
At all times her high intelligence is in evidence in expressing the ebullience of the Zigeunerlieder the varied moods of Op. 32 and the gravity of the Ernste Gesaege, but good intentions are too often vitiated by faults in technique and a simply inadequate supply of tone. I daresay that in the context of a live recital, with DeGaetani's strong personality in support, a different impression might have been made but alas, it is too late for that and in the critical light of recording, the impression is disappointing.
Much the most satisfying interpretation is that of the Ernste Gesange. There, the vocal fallibilities are somehow subsumed in the sincerity and depth of the interpretation. The stark pessimism of the first two pieces is intensely conveyed, as is the consolation of the second half of the third song, where the mezzo's use of portamento and piano tone is commendable. Though without quite the resources for the great paean to love, she manages something of the required elation. In all this she is much helped by her regular and perceptive partner but, as throughout, he is somewhat too prominently recorded. Altogether this fine performance proves a fitting swan song, but the total time of the disc, at 41 minutes, is ungenerous, particularly at full price.'