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Schumann & Schubert Lieder

Robert Schumann
: Freisinn Op. 25 No. 2 from 'Myrthen'; Erstes Grün Op. 35 No. 4; Hoch hoch sind die Berge Op. 138 No. 8; Die Soldatenbraut Op. 64 No. 1 ; Liebeslied Op. 51 No. 5 ; Das verlassne Mägdelein Op. 64 No. 2; Stille Tränen Op. 35 No. 10; Die Löwenbraut Op. 31 No. 1; Lust der Sturmnacht Op. 35 No. 1; Morgens steh’ich auf und frage Op. 24 No. 1 ; Der Einsiedler Op. 83 No. 3; Abendlied Op. 107 No. 6.
Franz Schubert
: Auf dem See D. 543; Das Echo D. 868; Des Mädchens Klage D. 191; Nähe des Geliebten D. 162; : Bei dir allein D. 866 No. 2; Wiegenlied D. 867; Der Pilgrim D. 794; Sehnsucht D. 63; Lied des Florio D. 857 No. 2; An den Mond D. 259; An die Musik D. 547

Angelika Kirchschlager
Helmut Deutsch (piano)

Wigmore Hall 28 Oct 2006

Another low voice at Wigmore Hall; beforehand, people were still talking about Robert Holl's sensational recital earlier in the week.


Kirchschlager & Deutsch's was less successful than theirs in 2003, previously reviewed. From the critics' right-hand back seats this time, Helmut Deutsch's piano sounded fine, and he was a more equal partner than I'd felt before, if never as exciting as our top British lieder pianists. But the problem this evening was the repertoire, songs off the beaten track chosen for Wigmore habituées and R3 connoisseurs.

Avoiding Schumann favourites, Angelika Kirchschlager's choice demonstrated that many of the lesser known and later songs are really not so good. One such was Die Löwenbraut, a twelve verse saga about a lion killing its mistress (Richard Stokes thinks Schumann associated it with Ferdinand Wieck and 'his leonine shock of hair'). Schubert and Loewe do those things better. The point was underlined by Angelika's encore, Widmung, in which she relaxed and the voice blossomed in a way that had eluded her for most of the evening.


The Schubert selection went better than Schumann, but it seemed that Kirchschlager was not in best voice this evening. After the usual admonitory lecture from the stage, hers was the only intrusive cough during the music! I wonder whether the BBC will remove it before the R3 broadcast on November 12? That will be interesting to hear;  Despite Wigmore Hall's oft-repeated assurance that music sounds good there from every seat - they don't mention the deplorable sight-lines; one man moved to be by us because he didn't like his seat in the centre of the row - the BBC used at least half a dozen microphones! Why?

Peter Grahame Woolf



See also Classical Source's put down of this October 2006 recital and ours of Angelika Kirchschlager with Helmut Deutsch at Wigmore Hall October 2003.

Credit: Frank Ockenfels (Angelika Kirchschlager)