Kaufmann and Finley in two new recordings of Schubert's Winterreise.
After a long winter that seemed like it
would never end, we all look forward to the spring. So winter as a subject for
a spring blog may seem a little unseasonal and just a tad retrospective, and if you
take Schubert's 'Winter Journey' literally, you
might be right. However it is more often viewed as a beautiful yet tragic metaphor for an
inner journey of self-discovery, concluding with 'Der leiermann' (the
hurdy-gurdy man), a symbol of inexorable
misery and dejection. This last song is asymmetrical, giving it an unfinished
quality, its drone perfectly encapsulating a mood of utter futility; here there is no light, it is all darkness,
devoid of hope. We have to remember this is a work by a young composer barely
in his thirties at the height of his powers. By any standards this work is a
magnificent achievement.
There are currently many versions on disc
of 'Winterreise', and these two new recordings join the pantheon of great
interpretations. Tenor Jonas Kaufmann’s recent forays into Wagner and Late Romantic
opera have given his voice a ferocity and dramatic intensity, so his reading of Schubert's cycle is full of 'heart-on-sleeve' passion and drama, aided in no small way by Helmut Deutsch at
the piano. It is important to mention the pianist as they are as much part of
the interpretation as the singer; in Schubert's songs the piano provides the
background and comments on the text, with the music demanding more of a partnership
than just a singer/accompanist relationship.
The baritone voice of Gerald Finley gives
the work a darker hue, finding the introspective aspect of the cycle. Perhaps
this is more of a soliloquy, a confession of
dark thoughts. Finley has a wonderful hushed quality to his voice in the
final song. We are left feeling at the end of the cycle that the
winter may be over but this is a troubled soul in need of absolution.
Jason Hatton
3rd March 2014
Schubert: Winterreise D911
