Search - Matthias Goerne, Franz [Vienna] Schubert, Eric Schneider :: Schubert: Die schöne Müllerin

Matthias Goerne's voice must be one of the most beautiful now before the public: warm, velvety, perfectly produced, and greatly varied in nuance and coloration. His breath control is extraordinary, enabling him to shape and sustain endless phrases without losing pitch or tone quality, the notes following each other like a string of flawless gems. All this vocal mastery is fully in evidence here, but his interpretation of these songs differs considerably not only from those customarily heard, but also from his own previous performances and recordings, and it may take some of his admirers by surprise. He seems to conceive of the cycle almost as an opera in highly contrasting scenes, bringing out the changes of mood, atmosphere, dynamics, and expression between songs or groups of songs with utmost, sometimes excessive differentiation. His choice of tempi is especially unusual. The fast songs are breathless, often cumulatively impetuous, while the slow ones are positively glacial. (A cursory comparison between his timings and those of artists as diverse as Fischer-Dieskau, Schreier, Holzmair, and Hagegard reveals differences of up to four minutes for the final song.) This makes the many strophic songs seem endlessly repetitious, even though Goerne takes great, often extravagant pains to give variety to the verses. And though his singing is deeply expressive, it is so meticulously planned that any sense of simple spontaneity is lost. However, here is proof once again that Schubert can be approached in an infinite variety of ways. Though it fails to touch the heart, the performance is riveting for sheer consummate vocal control and for the sustained mental and emotional concentration that are so characteristic of Goerne's artistry. Eric Schneider offers strong leadership and empathic support, but at full volume, the piano sound becomes harsh and explosive. --Edith Eisler