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Subject: Dorothea Roschmann returns to DC for luscious lieder evening (2-8-18)
From: Alan Savada <[log in to unmask]>
Reply-To:Alan Savada <[log in to unmask]>
Date:Sat, 10 Feb 2018 08:37:08 -0500

text/plain (67 lines)

Mignon Lieder
   “Heiß mich nicht reden”
   “So laßt mich scheinen”
   “Nur wer die Sehnsucht kennt”
   “Kennst du das Land?”
Rückert Lieder
   “Blicke mir nicht in die Lieder”
   "Ich atmet’ einen linden Duft”
   “Um Mitternacht”
   “Liebst du um Schönheit”
   “Ich bin der Welt abhanden
Gedichte der
Königin Maria Stuart
   “Abschied von Frankreich”
   “Nach der Geburt ihres Sohnes”
   “An die Königin Elisabeth”
   “Abschied von der Welt”
Wesendonck Lieder
   “Der Engel”
   “Stehe still!"
   “Im Treibhaus”
Encore: Liszt-Es muss ein wunderbares sein 

Thursday night brought the return after over a decade of the amazing German soprano, Dorothea Roschmann to the Kennedy Center and DC by Vocal Arts DC with uber pianist Malcolm Martineau joining her. Unlike her last appearance with Ian Bostridge, this was a solos outing. Indeed, while I recall their last pairing, and as always, Mr. Bostridge's oddities foremost, I do not recall Ms. Roschmann being such a structured presence. She commanded the stage, but once again as I have to complain about my pet peeve, often had her hand glued to the piano's edge. This did not mar or inform her performance in any manner; it's just my problem I guess.

Her presence often reminded me of Leontyne Price's recitals of years ago, where she delivered luscious music, never failed to pronounce every letter of every word. Ms. Roschmann's diction was faultless and often made me giggle a bit. I have never seen a performer's jaw move so much and thought it surely must hurt her. That said, her presence on stage was indeed dramatic in a staid sort of way, especially in the third of the Mignon Lieder.

My favorite part of the evening was the Mahler and specifically "Um Mitternacht," with Mr. Martineau's consummate playing. Ms. Roschmann's dramatic soprano swelled as she offered up dramatically mezzo sounding low notes to boot, each "acht" consonant getting her complete devotion.

For me the Schumann was gorgeously sung and totally new, but it is not a set I am particularly fond of, perhaps it is because I personally don't like Mary, Queen of Scots as a figure. No matter, the Wagner totally made up for this, and I am sure that we all felt Mathilde herself was singing the music of her lover!

We all left feeling very well satisfied indeed and almost everyone was remarking that this, indeed is what Vocal Arts DC is all about!

ALAN SAVADA of Washington, DC

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