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Subject: Schwanewilms' soprano soars in DC recital (4-20-17)
From: Alan Savada <[log in to unmask]>
Reply-To:Alan Savada <[log in to unmask]>
Date:Fri, 21 Apr 2017 09:12:39 -0400
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Last night soprano Anne Schwanewilms, joined by pianist Malcolm Martineau, returned to Washington, DC for her second recital with Vocal Arts DC and from her first notes he voice seemed softer than before and so restrained (in a good way). The program is below and my notes follow:

RICHARD STRAUSS
 
"Traum durch die Dammerung"
"Nachtgang"
“Du meines Herzens Krönelein”
“Ach Lieb, ich muss nun scheiden”
 
HUGO WOLF
(1860–1903)
“Das verlassene Mägdlein”
“Wo find ich Trost”
“Der Genesene an die Hoffnung”
 
RICHARD STRAUSS
 
“In goldener Fülle”
“Wer lieben will, muss leiden”
“Ach was Kummer, Qual und
     Schmerzen”
Intermission
 
RICHARD STRAUSS
 
“Blauer Sommer”
“Weisser Jasmin”
“Das Rosenband”
RICHARD STRAUSS
 
Drei Lieder der Ophelia
   “Wie erkenn ich mein Treulieb
          von andern nun”
   “Guten Morgen 's ist Sankt
         Valentines Tag”
   “Sie trugen ihn auf die Bahre
         bloss”
HUGO WOLF
“Im Frühling”
“Gesang Weylas: Du bist Orplid,
          mein Land”
“Verborgenheit: Lass, o Welt,
          o lass mich sein”
 
RICHARD STRAUSS
 
“Die Nacht”
“Geduld”
Encore:"Morgen"
The final note of the opening song was floated flawlessly and seemed to disappear.  Was it me, or also has the timbre of her voice moved higher in the 7 years since she last sang here? When she sang here in January 2010 it was post-snowstorm and she was announced as indisposed. She did well and the concert was a success. Oddly, she chose to repeat 7 Strauss songs from that recital, the first two, the last two and the Ophelialieder. Maybe she wanted us to hear them sung better?

Her Strauss portrayal in the first half was stolid, but the Wolf songs got her all roiled up, especially with anger and near-possession in "Wo find ich Trost." The three Strauss songs that finished the first half were newer to me and also had a lighter touch allowing her to add some comedic moments.
Her Ophelialieder had intense moments of drama offering almost a blank delivery so appropriate to the character.
The Wolf "Verborgenheit:Lass, o Welt, o lass mich sein," was perhaps the most blissful of the evening, but then the Morgen encore wasn't bad either.

Tonight: more Strauss with the new Rosenkavalier at the Met.
Alan J. Savada,  Washington, DC




ALAN SAVADA of Washington, DC

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