Customer Reviews

Music for a While: Baroque Melodies

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

 

 

I've been a von Otter fan for a number of years now and almost always, blindly purchase her recordings immediately upon release, never having to be either persuaded or dissuaded. I'm rarely, if ever, wholly disappointed. And this is no exception. Von Otter is one of the most intelligent and completely versatile singers on the classical music scene. Her ability to go from Baroque to 20th century works (like her Melisande for Haitink) is admirable and always tasteful. In "Music for a While" she seems, at times, too eager to please, if you will. It's obvious she means to be cheeky, but at times comes across rather annoying and that is not something that she wears well. I don't take anything so seriously that I can't see what the ultimate aim was, but it just seemed somewhat silly and smacking of effort; however, I still think that is a more than worthy recital and one that will provide a great deal of entertainment to both her established fan base and any newcomers. Her Dowland selections are where she really shines, imbuing those lovely pieces with a pathos and quiet dignity that have become her trademark, especially in the early music field, where projects such as "Lamenti" and "Coronation of Poppea" with Gardiner (her "Addio Roma" is nothing short of spectacular) being especially memorable. The lute/theorbo solo pieces are recorded at too low a level, making one having to strain to get the full effect. Yes, the voice doesn't have the bloom it once did, but it's still a gorgeous instrument. I think that those, like myself, who believe in Ms. von Otter's innate artistry and musicality will not be disappointed, so go ahead and purchase it; believe me, you won't be that upset over the few excesses that you'll ultimately be sorry.

I'm no huge fan of this singer, except for her operatic performances of Handel and Strauss. For my taste, she has been a bit too dramatic for some material. The voice hoots and scoops at times when we'd rather do without it.

Having said that, the voice here is is in lovely form, and we now have a recital that presents it at its best advantage.

MUSIC FOR AWHILE collects 17+ superb Baroque compositions from Italy, Germany, Spain and England with composers franging from Frescobaldi and Kapsberger, to Strozzi, Purcell and Dowland, and delivers one of the most sensitive, beautifully recorded recitals by any mezzo in many seasons.

Ms. von Otter's back-up players are flawless, with Vinokur on keyboards, Lindberg on theorbo, lute and Baroque guitar, and Ericson on theorbo.
The recording technique and total production convey an intimacy to embrace this special season.

I was surprised by the number of compositions, notably those by Dowland, that the singer delivers from the heart and without excessive embellishment.

I am converted. Five stars plus. A wonderful release, without qualification.

After receiving this CD a few weeks ago, I have fluctuated between "I like it" and "I don't" back and forth, settling eventually on, I like it - sort of, and can recommend it with the following understandings. First, its technical merit. This is a well produced minimalist approach to Baroque music. The production notes say we should listen to it as we would a recital, and it is well-suited for that atmosphere. The instrumentation is bare bones: harpsichord, chamber organ, theorbo, lute, Baroque guitar. They accompany Ms. von Otter individually in each song and usually never more than one at a time. This is a fine quality recording: clear and even-handed throughout. As for the twenty-one selections, with the exception of Benedetto Ferrari's "Amanti, io vi so dire", the very first song on this otherwise thematic CD, the selections create a mellow mood and maintain that mood throughout. I can't understand how the first cut escaped a final editing, and wondered as I listened to it over and again, what goes through the minds of producers and artists when they review what they have created and don't hear that something is as out of place as this. Nonetheless, I could easily sit with a book and listen to this CD without much distraction, except for the first cut. Anne Sofie von Otter delivers an evenly modulated performance and hints at considerably more power in her voice than she delivers. Her voice has a richness and depth that even when controlled as it was, conveys power. Pull up a seat at King Arthur's Court, sit back, close your eyes and enjoy a fine, minimalist performance in the Baroque tradition that for the most part will not disappoint. PJW

This artist always knows what she does and why. In this wonderful recording the serious, grave manner is replaced by sheer joyness. This is a record that makes the listener very happy! And the musicality never fails. Strongly recommended!

I bought this recording and I really enjoyed it, but it's not my favorite by Ms. von Otter. I still recommend it to everyone. This recital is wonderful, with the exception of "Amanti io vo se dire." It was nice, but a little out of place. I still rate this as a good recital disc.

This is a great cd,I am a 23 year old music lover I love all kinds of music.I have many cd's and I have to say this is one of My favorite Cd's.All the songs are sung very well.

I've been a fan of Anne Sofie von Otter's for many years. For me, what set her apart from many singers of the current musical scene was the dignity and simplicity of her singing - she managed to convey the deepest emotions through simple yet effective vocal means. Her singing was always natural and devoid of mannerisms. It was also intelligent and text-oriented yet never emotionally detached or over-intellectualized. The singer was often accused of being an "ice princess" yet to me she was always one of the warmest and most humane artists of our time.

So what happened to the revered mezzo that she found it necessary to "augment" her wonderful and easily recognizable singing style with some "eager little girl" mannerisms that mar this interesting recital? Is von Otter another victim of the highly contagious "Bartoli virus" that seems to spread among singers dangerously fast, making everybody want to be as spontaneous as the great Italian diva? The virus apparently didn't spare even such a seasoned artist as von Otter - that, at least, is my conclusion after hearing this new recital.
Compare it to "Lamenti", her previous CD covering the same period and the difference is striking. Of course the mood is not the same - the new collection is obviously not as melancholy as the previous one, on the contrary, there are many jolly pieces recorded here that help dissipate the atmosphere of "sameness" that often dangerously hangs over baroque song recitals. Yet it is here that I found von Otter's style quite mannered and the singer a bit out of her depth. Von Otter is no stranger to humour and yet in her attempts at giving her singing a spontaneous humorous touch she sounds desperate and annoyingly eager, as if she was trying to tell a joke too many times. Add to this her vocal mannerisms - sighs, smiles to the mike, overemphasis, scooping and swooning of certain notes, and you'll get the picture of her new singing style. Those elements were present in some of von Otter's recent recordings but in none of them did they sound so obvious and so tiring. They make it almost impossible to enjoy the programme which, I should add, is well designed, with selections ranging from baroque "hits" (Dowland and Purcell) to some obscure pieces by Strozzi and Kapsberger.

Von Otter's voice has certainly lost much of its beauty and become matt, at times even rough, and has developed a pronounced vibrato. The most recent news from DG is that the Swedish mezzo is preparing to record a disc of Abba songs. Well, maybe that's the best decision the artist could make at the moment, considering her vocal state. (Kicek)