Customer Reviews

Ian Bostridge - Schubert Lieder, Volume II

5 star:		(7)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Though I have a huge collection of CDs and LPs, and my favorite composer is still technically Bach, probably followed by Mozart, I often find myself turning to recordings of Lieder, the "art songs" of such composers as Schubert, Schumann, and Brahms.

Listening to these wonderful works, set to mostly first-class poetry at times serious, at times humorous, is one of the most satisfying experiences I can think of. And since one so rarely finds recitals of Lieder even in major cities or at festivals, recordings are perhaps the only way some listeners will ever hear these masterpieces.

I cherish my CDs of some of these same songs by their foremost exponent, Dietrich Fischer-Dieskau, but Bostridge offers a fresh look, different voice, and similar interpretive intelligence. He is as characterful as the great Fischer-Dieskau in portraying different roles and parts within songs having more than one "character", as well as in expressing the emotions of the protagonist in those having one part--often in songs of longing. That is so important in vocal works; some singers literally sound as if they don't have the slightest idea of what is being sung.

This is a fine assortment of songs, with one that is surprisingly effective in its placement on the recording. (The selection of what songs to place on a recording, and what order to use, is as difficult as in planning a recital, or should be anyway.)

This is apparently going to be an continuing series, as this is volume two of his Schubert Lieder. Texts and translations included, along with a short and helpful summary.

Like my experience with the first recording, my hearing this selection similarly makes me look forward to more, not just from Bostridge, but from his fabulous accompanist, Julius Drake. For example, in Volume 1, Drake's accompaniment in "Auf dem Wasser zu Singen" perfectly depicted the setting of that "water piece"; here we find the same kind of brilliant portrayal in "Am Flusse" and "Am See".

This is another must-have, and pick up a few more copies for your friends, whether they are acquainted with Lieder or not!

This is Bostridge's second volume of "lieder" (i.e. musical settings of German romantic poems) by Schubert, and much of what I wrote in my review of his volume one applies equally here. These are wonderful songs by the greatest songwriter of all time, and Bostridge brings his usual beautiful tone and phrasing to each one of them. It would be pointlessly controversial to give any less than five stars.

The same reservations apply as before: Bostridge's voice is just too pure and lovely for some of Schubert's songs. However, it's fair to say that this later release is more successful than volume 1. In the earlier volume, he was courageously cutting heads with the greatest lieder-singers of all time on what could almost be called "Lieder's Greatest Hits". And it has to be said that for all his beauty of tone and phrasing, he has yet to develop the gravity or indeed the dramatic range and flexibility to put his name up there with the native German greats like Fischer-Dieskau, Prey, or more recently Baer and Quasthoff. In this latest volume, however, Bostridge has selected material that is more clearly suited to his terrific gifts - for the most part less well known but still outstanding compositions that involve less narrative and more reflection.

The experienced lieder aficionado who is attentive to the German lyrics may still find Bostridge's delivery insufficently deep in terms of both pitch and nuance. However, none of this is meant as negative criticism. Bostridge's glorious bel canto voice is one of the brightest lights in Britain's music industry. Lieder-singing is a highly specialised art-form in which even native German performers rarely reach their peak until middle age. And above all, this is a fine album in its own right - in fact one that most English speakers will actually find preferable to a more Teutonic and dramatic performance.

There can be no doubtabout Bostridge's standing in the Lieder world - his recitals commonly sells out, even if he's performing relatively obscure material like Finzi.

Having first sampled him in the wonderful Schumann disc, buying this disc was a no-brainer. Bostridge lives up to my high expectations, singing with transcendental feeling; you know he's actually reliving the experience of the song, conveying the composer's thoughts instead of displaying his own vocal powers.

However, I'm not sure all the songs here are appropriately chosen - Bostridge has a very English tone, meaning a little short on power and size. Auflosung displayed this weakness - the tempo is too slow, the voice lacking in power and grandeur to project the song's intensity - just compare it to the intense Fassbaender / Johnson Hyperion recording will show that this song is less docile than it is here. Sometimes, he uses a slight crooning sound, which sounds fine, but after repeated listening, you wish he can project a fuller sound. I still enjoyed this CD but there are 500+ songs out there and I'm sure Bostridge can find more than enough that suits his voice!

This performance is pure gold. Julius is excellent, his playing effortless and intimate. (He spoils me, and makes me think all accompanists I ever hear are quite second rate in comparison!)

Ian's voice seems, to me, to have darkened and matured quite substantially since volume one. That could be due to the difference in repertoire, this time around the songs are darker, more heartrending. Beyond that I will not compare the two.

My favorites on this CD are Abendstern and Versunken. I love Ian singing about love. Versunken makes me proud of my curls. And the best part within Abendstern is when the star says in the most tender heartstopping voice, "Ich bin der Liebe treuer Stern" and then a bit mournfully, "Sie halten sich von Liebe fern." Ah, my heart melts! But then the very next line is declamatory, even a bit commanding.

I think that's it, Ian is able to express so much within the same song. It's storytelling every bit as much as it is music. What a great combination make Schubert, Julius and Ian! How glad I am, in the most selfish sense, that Ian chose music over academia. The world is a better place for it!

This is perhaps, Ian Bostridge's best cd that is out there in the market. All of the Schubert songs are performed beautifully, which basically means that you'll be playing this over and over again during any time of day. The majority of the songs included tend to be sweet, slow-paced and melancholy. His great vocal talent is exposed in this collection of fabulous tunes.

Just as amazing as the first edition!!! Bostridge combines the vocal virtues of purity, lush tone, and one heck of an accompanist ;-) My Absolute Favorite Schubert Performer. A must have for the true Schubertian Lied Collection!!! :-) DO NOT HESITATE!!!

with his accompanist Julius Drake as usual providing a very effective and affecting piano part.

The disc contains mostly songs that are lesser known songs than in those in Bostridge's Schubert I disc, but they are in no way unworthy, with masterpieces such as Nachtstuck (track 2), Auflosung (4), Wilkommen und Abschied (12) and Auf der Donau (3) marking some of the highlights. The disc is split in three parts, the first of settings of poems by Josef Mayrhofer, a Viennese friend of Schubert's, the second of Goethe poems, and the third being an assortment.

I have been listening to quite a few Schubert lieder and can favorably compare his renditions to some excellent competing versions, including Janet Baker's very intense Auflosung and Christian Gerhaher's strong rendition of Wilkommen und Abschied and Fischer-Dieskau's classic rendition of Uber Wildemann. So Bostridge is in my opinion at the least the equal of some renowned Schubert interpreters.

The other thing to praise about this disc is the sound engineering, which is audiophile quality. A beautiful recording in every way. Strongly recommended.

Several of the reviews I've read on this site concerning Ian Bostridge are by people conspicuously more knowledgeable than I. They voice serious reservations about his work and his voice (small). Still his Shone Mullerin is my favorite collection of lieder. Whether his voice is small or not doesn't make much difference, I'd imagine, in the recording studio, and I find it very beautiful.

This album has a wonderful selection of songs that have a more subtle and beautiful effect than the first volume (and that is one of my very favorite albums!). His singing is beautiful and his artistry is even better. The songs aren't just sung. They are expressed so poetically it is like being in the middle of a magic spell being cast. Of course Mr. Drake's terrific playing adds so much to this recording. It isn't a singer with a pianist. It is two artists combining seamlessly to make the art come alive with a single vision.

I was fortunate to hear Mr. Bostridge and Mr. Drake perform several of these selections here in Ann Arbor. It was a wonderful recital and contained several songs that I hope get in a Volume III.

People are allowed to love what they love, but many of the gushing five-star reviewers here claim that Bostridge is the best lieder singer since Fischer-Dieskau. That's true only if you discount, among others,

Janet Baker

Christa Ludwig

Anne Sophie von Otter

Thomas Quasthoff

Mitsuko Shirai

Gundula Janowitz

Peter Schreier

Jan De Gaetani

Bryn Terfel

Thomas Hampson

Birgitte Fassbender

Kathleen Battle

Olaf Bar

Hakan Hagegard

Barbara Bonney

Thomas Allen

These are just the ones who've given us superlative Schubert and romatic lieder recitals on major labels since 1980 or so. I mean, it's one thing to advertize your enthusiasms, but it's another to claim your opinion as fact in the face of many, many great artists in this genre. Only after someone shows me how Bostridge has excelled, or even equalled, these singers can I consider putting him up against older, legendary artists like F-D, Schwarzkopf, Hans Hotter, Imgaard Seefried, Julius Patzak, Kathleen Ferrier, Peter Pears...need one go on? A trendy favorite of the moment doesn't a master make. Personally, I find Bostridge an unappealing lieder singer, thin-voiced, mannered, and over-emphatic to an annoying degree, but if he one day gets added to the list of greats, I can accept that.