Customer Reviews

Mahler - Des Knaben Wunderhorn / von Otter, Quasthoff, Berlin Phil., Abbado

5 star:		(11)
4 star:		(1)
3 star:		(0)
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1 star:		(0)

 

 

I received this album by accident, as a record club recording of the month that I had neglected to cancel. I could have returned it to the club, but decided to keep it because of the connections between "Des Knaben Wunderhorn" and Mahler's astonishing second symphony which I have loved for many years.

It turned out to be a lucky accident. These are flawless songs, perfectly exhibiting the craft of the second-greatest orchestrator in history. This new recording combines the talents of two of the greatest living lieder-singers with one of the few truly world-class teamings of orchestra and conductor. The sound quality is outstanding even by the best modern digital standards.

In historic terms also, this is a significant milestone. To my ears, certainly, no one is ever likely to match Fischer-Dieskau's iron-fist-in-a-velvet-glove combination of power and smoothness, or his dramatic flexibility. However, Quasthoff's own experience of triumph over adversity does seem to give his reading a special value in these lyrics that are so trifling on the surface and yet have such profound depths of insight into the human soul. Von Otter in the songs for female voice gives what is perhaps the new definitive performance. And ultimately in terms of overall listening enjoyment, no other version (not even the Fischer-Dieskau/Schwarzkopf set) can compare.

This is beautiful music, wonderfully performed, expertly engineered, and unreservedly recommended.

Perhaps it should be mentioned that 5 of the songs in Mahler's Des Knaben Wunderhorn are set as dialogues between a soldier and a girl. In both the Baker/Evans and Schwartzkopf/Fischer-Dieskau recordings, both singers participate in those songs. In this recording, these songs are performed by one or the other of the two vocalists;not both.

Having reviewed the Bonney/Goerne/Chailly recording of Mahler's DES KNABEN WUNDERHORN and settling in to that fine CD of this important cycle of songs, it feels a bit traitor-like to offer a new recommendation of this music. Perhaps it is partially due to being in the afterglow of Thomas Quasthoff's radiant performance of KINDERTOTENLIEDER with the Los Angeles Philharmonic that propelled the purchase of this CD.

Be that as it may, this volume of the songs of DES KNABEN WUNDERHORN now tops the list. Anne Sophie von Otter is such an extraordinary artist that her performance here is no surprise in its execution, subtlety, and sensitivity. But it is the revelation of Thomas Quasthoff as a Mahler virtuoso that crowns this wondrous recital. His voice is not huge, but it is so intelligently used and has such intrinsic beauty and nuance that it begs comparison with the finest singers in this repertoire of the last century. Claudio Abbado and the Berlin Philharmonic provide the finest possible collaboration.

One can only hope that he will soon record KINDERTOTENLIEDER: rarely sung by a male voice, Quasthoff brings insights that are continuously revealing in this most difficult of Mahler's song cycles. Grady Harp, November 2004

This is a wonderful album. I have the other versions, and I must agree with the listener from Raleigh--I was blown away. The singing is great, with the lines shaded subtly to perfection. I had never heard Thomas Quasthoff before, but he is perfect for this music. Anne Sofie von Otter is as fantastic as usual in her recent albums--she always finds something new and interesting and enlightening to do with whatever she sings. Abbado's, and Berlin's, accompaniment is outstanding--they find just the right turns of phrase to convey this quirky music. This is an album you will treasure for years, returning to again and again (on the assumption that you like Mahler). The recorded sound is as good as it gets.

One of the problems with the Wunderhorn recordings is finding the right combination of voices. Like with "Das Lied von der Erde" one frequently has a wonderful soprano / mezzo (seeing that everybody seems to take a crack at it) and an indifferent baritone (or, in the case of "Lied", tenor). Another problem can be the conductor. Mahler's orchestration is so immensely complex that to take an overly romantic approach to the songs can cause the sound to be muddled and murky, whilst a too classical reading can make the music sound merely bland. This recording manages to skip both these pit-falls and come up trumps. Anne Sofie von Otter has long been a passion and here she proves once again why she has to be considered one of the greatest singers of our or any time. Her nuances and comic touches in the fiendishly difficult "Wer hat dies Liedlein erdacht" (no 8) is a highlight, brilliantly contrasted with the almost sombre intensity of the sublime "Urlicht" which closes the disc. Thomas Quasthoff is a new artist for me, but a welcome discovery, rivalling von Otter in expression and nuance, as well as diction - a refreshing surprise indeed. As brilliant as the soloists are, however, the most lasting impression is left by Abbado, who inspires his Berlin forces to a passionate yet marvelously crystal clear account of the score. This disc cannot be too highly recommended to Mahler lovers and might prove a perfect introduction to the uniniciated.

With good ingredients, the product is bound to be good. Quasthoff is quite at home with lieder, so he sings his songs with imagination. Von Otter brings much personality to her contribution, especially to her last two songs. Claudio Abbado is flexible as usual and the Berlin Philharmonic have a wide variety of color at their disposal. The only problem listeners may or may not encounter is the recording balance, which favors the upper bass. This is not uncommon in Berlin, but is more intrusive on this recording. Regardless, if you love any member of this team, you should buy the recording - it is bound to give pleasure.

The orchestra playing in this CD is absolutely fantastic. Also, Von Otter is exemplary. Listen to Cut 11 "Wo die schonen Trompeten blasen" for the essense of a young Mahler that exemplifies late 19th century German music.

If you have the slightest susceptability to Mahler or lieder or people screaming (and whispering) in German, I can recommend this CD. Excellent sound in the service of one of the greatest group of art songs ever put down. Go Sophie! And Thomas Quasthoff is in fine baritone voice, and recorded in hair-raisingly expressive sonics. There are not many finer than this; highly recommended.

Those whose exposure to Mahler has been primarily through the popular earlier symphonies, particularly the 1st and 4th, but who still find his later works too daunting, may want to give this song cycle a listen. These songs reflect several facets of Mahler's musical imagination, and many of the melodies also worked their way into his symphonies. Anne Sofie von Otter is a wondrously beautiful singer (and you can take that either way -- I meant it both ways) and Thomas Quasthoff does a delightful job here.

Abbado leads the Berliners in 13 songs, quite a collection of these songs (some recordings omit some of the songs found on this collection). The sound quality is excellent, with a firm foundation of bass when the score calls for it, making this a highly desirable disk for those who appreciate vocal music with orchestral accompaniment; and for Mahler fans, this disk is a must-have.

I have no idea ow Amazon dropped my long review of this superlative set of Wunderhorn songs. If it came down only to Abbado's conducting and the playing of the Berliners, this would rank at the top of the list. Both are remarkable. If we add von Otter, there are a few rivals -- especially Janet Baker and Christa Ludwig -- who bring more natural warmth to these songs. Yet von Otter does a great deal to overcome my sense of he as rather too cool for Mahler. She dramatizes every song, making real characters out of each voice.

The contribution that sends this CD into a class of its own is Quasthoff, caught at the very peak of his imagination, artistry, and vocal beauty. Has Mahler singing ever been this passionate and totally engrossing? As someone who has loved the Wunderhorn songs since the Sixties, when Janet Baker and Geraint Evans swept me off my feet, I can only affirm that Quasthoff's singing is incomparable. If he left only one recording, this one would seal his reputation for posterity. Suddenly, a complete world opens before us, full of bravado, sentiment, irony, wistful love, and a soldier's nearness to death. One cannot ask for more.