A Dresden recital of excellent artistry and sincerity from Matthias Goerne and Alexander Schmalcz – Seen and Heard Worldwide

Germany Dresden Music Pageant 2024 [6] – R. Schumann, Brahms: Matthias Goerne (baritone), Alexander Schmalcz (piano). Staatsschauspiel Dresden, 24.5.2024. (MC)

R. Schumann – Abends am Strand (No.3) aus Romanzen und Balladen, Op.45 (1840); Es leuchtet meine Liebe (No.3) aus Lieder und Gesänge, Op.127; Mein Wagen rollet langsam (No.4) auf Vier Gesänge, Op.142; 16 Lieder–Dichterliebe, Op.48
Brahms – Sommerabend (No.1), Mondenschein (No.2) aus Sechs Lieder, Op.85; Der Tod, das ist die kühle Nacht, (No.1), Meerfahrt (No.4) aus Vier Lieder, Op.96; 9 Lieder und Gesänge, Op.32

It’s Friday night in Dresden, the beginning of the weekend, and I’ve simply attended for the primary time a live performance on the Staatsschauspiel, a big constructing near the Zwinger the well-known baroque architectural property. Following the horrible destruction of Dresden throughout World Battle Two in 1945, the Staatsschauspiel was the primary main corridor to recommence holding concert events.

With a lieder recital programme of Schumann and Brahms the partnership of baritone Matthias Goerne and his recital pianist Alexander Schmalcz produced wealthy and fulfilling rewards. Goerne and Schmalcz commenced with the Robert Schumann part of the programme, choosing one particular person music from every of three lieder units Opp. 45, 127 and 142. Subsequent Goerne sang Schumann’s most admired music cycle Dichterliebe (A Poet’s Love) sixteen songs accomplished in 1840 with texts from a set of poems by Heinrich Heine. So many of those Schumann songs deserved reward, however I’ve singled out simply 4.

Particularly admirable from Schumann’s Dichterliebe was the primary music ‘Im wunderschönen Monat Mai’ (‘Might, the magic month of Might’) springtime is right here it’s Might and love is within the air, given such a sometimes clean supply by Goerne who was appearing the half. Commendable too was ‘Aus alten Märchen’ (‘From tales of previous’) that I consider considerations seeing love by way of the glories of the pure world. It was taken briskly by the duo and Goerne, an adept storyteller, moved simply between his high and low registers.

Goerne selected to dispense with an interval break and continued from Schumann straight into the second half comprising Brahms lieder. Two songs have been chosen from every of two Brahms music cycles Sechs Lieder, Op.85 and Vier Lieder, Op.96 and the recital concluded with the 9 songs from the cycle Lieder und Gesänge, Op.32, settings of texts by August von Platen and Georg Friedrich Daumer that Brahms wrote in 1864. Platen and Daumer have been contemporaries, each formally studied oriental literature and the works of celebrated Persian poet Hafiz, and these influences could be discerned often in Brahm’s writing.

Of the Brahms lieder I discovered the music ‘Mondenschein’ (‘Moonlight’) from Sechs Lieder, Op.85 notably commendable. Regarding love and the moon, on this nocturne Goerne was in splendid voice, simply attaining his excessive notes, and conversely supplied a mushy and tender tone. On the music’s conclusion Goerne was so concerned he was crouching down and appeared fully captivated. From Brahms’s cycle Lieder und Gesänge, Op.32 the ultimate music of the night made fairly an affect ‘Wie bist du, meine Königin’ (‘How blissful you might be, my queen’) the place love is defined by way of the fantastic thing about nature. Within the mid to excessive vary of the music Goerne was in pretty expressive voice having a young feeling for the phrases with an particularly sturdy sense of longing. After giving his all to the demanding programme at Staatsschauspiel, proper on the finish Goerne was nonetheless shifting his physique to the emotion and rhythm of the music. All through the night the consistency of Goerne’s tireless efficiency stood out.

Comprising thirty-two lieder Matthias Goerne accompanied by Alexander Schmalcz gave a recital of excellent artistry and sincerity with singing that embraced the very essence of the texts.

Michael Cookson