SCHUMANN:
Dichterliebe and Frauenliebe und –leben
Anderson, Ferrier, Hüsch, Lehmann, Panzera, Schiøtz. With Cortot, Moore, Müller, Rupp, Ulanowsky, Walter. Music & Arts CD-1235 (2)
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Recently released on the Music & Arts label, this two-CD collection contains six historic recordings (three each) of Schumann's Dichterliebe and Frauenliebe und –leben, all captured between 1935 and 1950. The kick-off Dichterliebe is performed by Danish tenor Aksel Schiøtz (1906–75), partnered at the keyboard by the superb Gerald Moore (1899–1997). Much of the cycle is very well sung, although the highest notes can sound unsupported, and Schiøtz does not attempt the high A in "Ich grolle nicht." Despite the occasional strain, however, the interpretation is so winning and unaffectedly natural that the overall result is quite satisfying. A bit rougher around the vocal edges is Swiss baritone Charles Panzera (1896–1976), whose more effortful version lacks the lyricism found in Schiøtz's reading. Panzera's schwa vowel is troublesome in the way it morphs into a throaty "uh" on many unaccented syllables. In addition, he and pianist Alfred Cortot (1877–1962) are not always in sync with each other. The final Dichterliebe features German baritone Gerhard Hüsch (1901–1984) and pianist Hanns Udo Müller. Hüsch's vocalism is smoother than Panzera's yet not so free and buoyant as Schiøtz's, and there is a woofy quality to his vocal placement that lends a heavy, lugubrious quality to the music.
A 1946 Frauenliebe from Lotte Lehmann (1888–1976), accompanied by frequent collaborator Paul Ulanowsky (1908–68), suffers from the singer's rather histrionic interpretationand exaggerated vocal mannerisms, as well as its mediocre sound quality. (The piano sounds particularly murky.) There are many swoops and scoops to be found here, as well as a great deal of overwrought declamation. In contrast, a 1950 performance from Marian Anderson (1897–1993) and Franz Rupp (1901–92) is more restrained and nuanced, but the contralto's voice is fluttery and unsteady at times, and her pitch center is frequently a few cents below the comfort zone. Anderson's articulation of the text falls short of Lehmann's treatment. A live performance by Kathleen Ferrier (1912–53), recorded in boxy and slightly distorted sound at the 1949 Edinburgh Festival with maestro Bruno Walter (1876–1962) at the keyboard, is probably the best of these Frauenliebes. Ferrier, who was thirty-seven at the time, sounds in fresher voice than either Lehmann or Anderson, and her performance is also more spontaneous and authentically heartfelt. On the downside, Ferrier is occasionally fazed by the tessitura of some of the higher notes, and Walter's accompaniment can be a bit sloppy. This same performance was previously released on Decca, but the present incarnation is preferable due to its reduced noise and crackle.
As both of these song cycles have been recorded numerous times, there is stiff competition available; indeed, several more modern stereo performances — among them Eberhard Wächter's Dichterliebe,with Alfred Brendel, and Lucia Popp's Frauenliebe, with Geoffrey Parsons — would be preferable to any of the offerings in this set. That being said, it is fascinating to hear performances of these works from celebrated singers of the first half of the twentieth century, and the Schiøtz –Moore and Ferrier–Walter cycles are of particular interest despite their technical limitations.
DEREK GRETEN-HARRISON
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