Magdalena Kozená - Lieder (2004)
Artist: Magdalena Kozená
Title: Lieder
Year Of Release: 2004
Label: Deutsche Grammophon
Genre: Classical
Quality: FLAC (tracks)
Total Time: 01:03:19
Total Size: 246 Mb
WebSite: Album Preview
Tracklist: Title: Lieder
Year Of Release: 2004
Label: Deutsche Grammophon
Genre: Classical
Quality: FLAC (tracks)
Total Time: 01:03:19
Total Size: 246 Mb
WebSite: Album Preview
Chansons Madécasses
1 1. Nahandove 6:10
2 2. Aoua! 4:06
3 3. Il Est Doux 4:27
Satirï (Kartinki Prošlovo) Na Slova Saši Čyornovo
4 1. Kritiku 1:14
5 2. Probuždeniye Vesnï 2:24
6 3. Potomki 2:12
7 4. Nedorazumeniye 5:09
8 5. Kreycerova Sonata 3:44
9 Il Tramonto 15:17
Lyrics By [After] – Percy Bysshe ShelleyLyrics By [Text] – Robert Ascoli
Drei Stimmungsbilder
10 1. Sangen Geigen Übern See 2:40
11 2. Schließe Deine Augen Zu 1:47
12 3. Weißt Du 1:32
A Charm Of Lullabies
13 1. A Cradle Song 2:16
Lyrics By [Text] – William Blake
14 2. The Highland Balou 2:02
Lyrics By [Text] – Robert Burns (4)
15 3. Sephestia's Lullaby 1:54
Lyrics By [Text] – Robert Greene
16 4. A Charm 1:38
Lyrics By [Text] – Thomas Randolph
17 5. The Nurse's Song 4:47
Lyrics By [Text] – John Philip
Composed By – Benjamin Britten (tracks: 13 to 17), Dmitri Shostakovich (tracks: 4 to 8), Erwin Schulhoff (tracks: 10 to 12), Maurice Ravel (tracks: 1 to 3), Ottorino Respighi (tracks: 9)
Mezzo-soprano Vocals – Magdalena Kožená
Cello – Jiří Bárta, Matthias D. Beyer-Karlshøj
Orchestra – Henschel Quartett
Flute – Paul Edmund-Davies
Piano – Malcolm Martineau
Viola [Alto] – Monika Henschel-Schwind
Violin [Ii] – Markus Henschel (2)
Violin [Solo/i] – Christoph Henschel
Mezzo-soprano Magdalena Kozena has a lovely, full voice that runs effortlessly up into the soprano range. Barely in her thirties with a camera-ready face, she is also the subject of a great amount of publicity in the classical world, which is luckily justified thanks to her pure and graceful vocal power. I have yet to see her sing live, but if this recording is any indication, she must be quite theatrically charismatic in performance. Granted there are far more highs than lows, I just wish her selection of material on this recording were as immaculate.
Ambitiously, Kozena paints a musical portrait of the first half of the 20th century by performing song cycles from five disparate composers - Ravel, Shostakovich, Respigi, Schulhoff and Britten - in five different languages. The disc opens unpromisingly with Ravel's "Chansons madecasses", which suffers from an almost too languid quality with a melancholy cello and minor piano chords masking some particularly jarring tones. At certain moments, Schulhoff's "Drei Stimmungsbilder" feels like "Sturm und Drang", but Kozena saves this cycle with her impressive sense of drama and vocal beauty. Shostakovich's "Satires" is an even better showcase at displaying her remarkable dexterity in alternating the embittered tone of Sasha Chorny's verses with an almost playful effervescence. Britten's "A Charm of Lullabies" is so unlike anything else he has written that it is nothing short of a revelation for both composer and singer. His familiar discordant tones are there, especially with the aggressive piano on "Sephestia's Lullaby" and her stern demands for "Quiet!" on "A charm", but so is an intimate sense of atmosphere throughout. Of all the selections, my personal favorite has to be Respighi's lyrical poem "Il tramonto", which really captures her dramatic flair in an especially intimate musical setting propelled by a swooning string quartet. This recording is well worth getting to hear a talent as rich as Kozena's. I only hope her program next time can provide as compelling a match.
Ambitiously, Kozena paints a musical portrait of the first half of the 20th century by performing song cycles from five disparate composers - Ravel, Shostakovich, Respigi, Schulhoff and Britten - in five different languages. The disc opens unpromisingly with Ravel's "Chansons madecasses", which suffers from an almost too languid quality with a melancholy cello and minor piano chords masking some particularly jarring tones. At certain moments, Schulhoff's "Drei Stimmungsbilder" feels like "Sturm und Drang", but Kozena saves this cycle with her impressive sense of drama and vocal beauty. Shostakovich's "Satires" is an even better showcase at displaying her remarkable dexterity in alternating the embittered tone of Sasha Chorny's verses with an almost playful effervescence. Britten's "A Charm of Lullabies" is so unlike anything else he has written that it is nothing short of a revelation for both composer and singer. His familiar discordant tones are there, especially with the aggressive piano on "Sephestia's Lullaby" and her stern demands for "Quiet!" on "A charm", but so is an intimate sense of atmosphere throughout. Of all the selections, my personal favorite has to be Respighi's lyrical poem "Il tramonto", which really captures her dramatic flair in an especially intimate musical setting propelled by a swooning string quartet. This recording is well worth getting to hear a talent as rich as Kozena's. I only hope her program next time can provide as compelling a match.