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Schubert : Schwanengesang ("Le chant du cygne")


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Détails sur le produit

  • Interprète: Ian Bostridge
  • Compositeur: Franz Schubert
  • CD (20 mars 2009)
  • Nombre de disques: 1
  • Label: Warner Classics
  • ASIN : B001KYJA7E
  • Autres versions : Téléchargement MP3
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Digital Booklet: Schubert: Schwanengesang
Digital Booklet: Schubert: Schwanengesang
Album uniquement

Descriptions du produit

Lieder : Schwanengesang & Geheimnis D491, An Schwager Kronos D369, Widerschein D949, Taubenpost D965 A, Abschied D475 Ian Bostridge ténor & Antonio Pappano piano PRESENTATION Poursuivant son cycle de lieder de Schubert, le ténor Ian Bostridge confirme encore sa maîtrise totale du genre. Il en est l'une des incarnations les plus fortes actuellement sur la scène internationale. Accompagné cette fois-ci par Antonio Pappano, qui a délaissé pour l'occasion sa baguette de chef d'orchestre, tout comme sur leur enregistrement commun des Lieder de Hugo Wolf en 2006, Ian Bostridge restitue toute l'intensité du fameux cycle posthume Schwanengesang, sans doute le plus varié de tous, qui alterne entre légèreté, mélancolie, envolée lyrique et accents dramatiques.


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Amazon.com: 4.6 étoiles sur 5 5 commentaires
10 internautes sur 10 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Better than most 28 juillet 2009
Par Sterling Koch - Publié sur Amazon.com
Format: CD
With all due respect to the very intelligent thoughts posted by the previous reviewer, I must disagree a bit. I would invite anyone to actually pick a song from this recording and compare it with pretty much any other version remembering that, yes, the cycle really was written for a tenor and I daresay that Schubert had that sound in mind. I think that you will find it significantly less "mannered" that pretty much anything else out there. Bostridge takes it fairly straight, with minimal (if any) operatic moments, no unnecessary slides or excessive bravado, and no bellowing. There are enough recordings of crooners and singers who believe that Schubert should be the German equivalent of Verdi. Yes, Bostridge is more restrained than most, but I believe the interpretation is quite valid and certainly effective here.
The previous reviewer mentioned a lot of big moments. I would take Ständchen as a better example, as it contains a good range of both pitch and dynamic. Bostridge's tone is warm and inviting (as it should be for the text), doesn't hold back when the moment calls for it, but also doesn't jump to forte just because the notes go up the scale. It's smart, not to mention incredibly beautiful. And you'd be hard pressed to find a German who seems to obviously chew and love the language like Bostridge does.
I'm not sure how it all would hold up in a recital hall (the piano is, as the previous reviewer notes, pretty restrained - delightfully so, in my opinion), but on a recording it creates some pretty magic moments. I'll admit I generally like most of Bostridge's recordings, but this one in particular stands out to me as being notably better than most others in a crowded list of Schwanengesang performers.
7 internautes sur 7 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Ian Bostridge Sings Schwanengesang 5 avril 2010
Par Robin Friedman - Publié sur Amazon.com
Format: CD
Franz Schubert wrote over 600 songs during his short life (1797 -- 1828). In their lyrical spontanaiety, intimacy and variety, Schubert's songs have never been surpassed. Schubert essentially created the genre of art song as well as its successor -- the modern popular song in all its forms.

In the extraordinarily productive final summer of his life, Schubert composed 14 songs for voice and piano which an enterprising publisher grouped together after his death under the name "Schwanengesang" (Swan song). In spite of their lack of musical or thematic unity, the final 14 songs have been performed as a unit ever since. Thus, "Schwanengesang" consists of seven settings of poems by Ludwig Relstab (1799 -- 1860), six by Heinrich Heine (1797 -- 1856) and a final poem, generally regarded as Schubert's last song, by Johann Seidel (1804 -- 1875). The songs have a valedictory character overall as they generally have bittersweet themes of lost love and of sadness. They never fail to refresh the spirit. I returned to the songs in part because I am working with a cellist friend in playing an arrangement of the "Serenade", the most famous single song in this collection. But it goes deeper than that. This cycle helps me as an antidote to melancholy.

In this recording, the English tenor Ian Bostridge is accompanied by the conductor and pianist Antonio Pappano. There is formidable recorded competition for "Schwanengesang" and most often the set is performed by a lower voice. Bostridge has a light voice which took some getting used to. This is a highly expressive, passionate and romantic performance. Each song is highly characterized, providing great contrast among the many moods captured by the music. The the setting of Relstab's "Abschied" (Farewell), with its energetic "clip-clop" accompaniment in the piano is taken at a fast pace indeed. The more melancholy, slower songs are taken with deliberation. Bostridge's phrasing and articulation are precise and clear, particularly in the short song "Atlas" over its thundering piano accompaniment.

The two most famous songs from this set are the "Serenade" set to Relstab and the "Doppelganger" set to Heine. Bostridge captures the flowing, unsettled character of the lover's quest in the former song together with the echoing lyrical responses of Pappano. "Der Doppelganger" remains an almost modernistic work with the troubled singer seeing himself before the home of the woman who has rejected him. With his tenor voice, Bostridge offers a strongly declamatory performance of this song, with its large angry climaxes over the rumbling minor key chords of the piano. The final song, Seidel's "Taubenpost" with its mixture of questioning whimsy and sadness, brings relief from the difficulties of "Der Doppelganger."

For those new to this music, I offer these brief comments on the remaining songs. Two early Relstab songs, "Love's Message" and "Spring Longing" capture the feel of a rippling brook and of dreams of love. "Abschied", the final Relstab song, tells of a singer leaving his native home, with a lively pace and an undercurrent of sadness. The remaining Relstab settings, "Kriegers Ahung","Aufenhalt" and "In der Ferne" are more tragic in tone.

The Heine settings tend to be more concentrated than the settings of Relstab. In addition to "Der Doppelganger", the settings of "Atlas", "Ihr Bild" and "Die Stadt" and "Am Meer" are songs of wandering, loneliness, and rejection. The mood of these songs is interrupted only briefly by the barcarolle, rolling setting of "Die Fischermadchen". Seidel's poem of the carrier pigeon brings the set and Schubert's song output to a conclusion.

The CD also includes four additional songs, including the early setting of Goethe's "An Schwager Chronos", two settings by Schubert's friend Mayrhofer (1787 -- 1836), "Gehimnis" and "Abschied" and a late setting of another poem titled "Abschied" by Schubert's friend, Franz von Schlecta (1796 -- 1875). All but the Goethe setting were unfamiliar to me. Schubert's over 600 lieder present endless possibilities for new discovery.

"Schwanengesang" consists of imperishable songs by a composer who died young. Lovers of Schubert and of art song will want to hear this CD by Bostridge and Pappano. Texts and translations of the songs are included.

Robin Friedman
4 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Who Are We to Contradict Schubert? 19 janvier 2012
Par Richard Pissillo - Publié sur Amazon.com
Format: CD
Ian Bostridge has one of the loveliest tones I have heard from a tenor in years. If you like delicacy, nuanced and subtle singing, you may love him. On the other hand, if you want the Pavarotti treatment of everything ever written, he may not be your cup of meat. His voice is reminiscent of Tito Schipa. It is ironic, because Pavarotti once trashed Schipa as having no range, power and gut(all of which Luciano had in excess and made sure you knew it). To give a more vinous analogy, if you prefer a high octane California zinfandel to a Musigny, then you may want a more powerful singer than Bostridge. As Santa Fe Listener pointed out, his is a lighter style. I disagree with his review nearly in total. I do not find Bostridge's voice to be "reedy, thin and without bloom". Quite the contrary. I love the warmth he expresses. I do not think Schubert's leider calls for more power. This is not Wagner. It's not even Don Giovanni. Schubert was writing songs of love, requited and not. He begrudgingly states that Schubert did write them for tenor, and who are we to disagree? These are tender songs. They call for a delicate tenor, not an overwhelming baritone. Heaven knows we have those sort of recordings in abundance.

Antonio Pappano's playing is perfectly suited to Bostridge's singing in a quietly beguiling way. It is an intimate affair. For example, Standchen has been given all sorts of treatments. As was pointed out in the well-written liner notes, "it has survived any number of kitsch arrangements...The singer's long-drawn out sigh at the final, Come Make Me Happy suggests melancholy resignation rather than hope that his love will be requited."

It is just this sort of nuanced singing that allows you to feel what Schubert felt. And it is just the sort of emotion that gets lost in a powerful display of vocal prowess. Listening to it makes me stop what I am doing and entrances me. The translation of Heine and Relistab poetry is delightful. The Bostridge and Pappano rendition of Schubert songs is atmospheric, perfumed and eloquent.
4 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Atlas is the best 26 mars 2013
Par Kelly Martino - Publié sur Amazon.com
Format: CD Achat vérifié
I had the good fortune to hear Bostridge in a perfect room, the concert room at the Esterhazy Palace in Eisenstadt, the city of Haydn's home during his service to the Prince. The evening, a half-hour's commute from Vienna, was totally Schubert. I can remember being able to hear Bostridge whisper--praise to both the tenor and the room, because he gave every level of dynamic possible in the performance, knowing that the room would carry the total breath of dynamics! The beauty of the voice live cannot be described. The year before I heard his Don Ottavio at the Staatsoper in Vienna. The "tiny" voice can fill one the largest rooms for singing and still make your hair stand on end in Il mio tesoro. He actually makes the character believable.

Now to the recording here: Der Atlas is the most powerful performance on this wonderful recording, closely followed by Der Doppelgänger. Bostridge makes the 14 Swan songs into a cycle, unbelievable. So folks it ain't no tiny voice that can sing only light, pretty things. It is an instrument of true beauty in the control of one of the great living artists. We are lucky indeed to have him at the same time as the great Jonas Kaufmann. Two of the best Lieder singers to ever have lived.
6 internautes sur 7 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Some very artful singing, but a light tenor doesn't belong in "Schwanengesang" 18 avril 2009
Par Santa Fe Listener - Publié sur Amazon.com
Format: CD
I was hoping not to be the first reviewer of this CD for fear of attracting the bloodhounds. I am skeptical that a light tenor can sing Schubert's weightiest songs, and many of those are to be found in his posthumous "Schwanengesang." The titanic sorrow expressed in Der Atlas, the enormous crescendo demanded in Der Doppelganger -- indeed, the whole Heine section -- contradicts the tenor voice. But that hasn't stopped Ernst Haefliger and Christoph Pregardien, or the composer himself, who actually wrote these songs for a tenor. If Ian Bostridge's voice is light even compared to theirs, his artistry considrably exceeds them, so I suppose he has a right.

To my ears, the sound of the voice is reedy, thin, without bloom, and therefore unappealing. I can't present myself as a fan, yet the lighter songs, lie Liebesbottschaft, are persuasively done here. Whenever Bostridge is called upon to sound like a young lover he does well. It msut be said, however, that his style is awfully mannered, too much so for innocent love or melancholy. Taste is taste, and one of my favorite singers, Elisabeth Schwarzkopf, is often accussed of mannered singing, too.

The very musical conductor Antonio Pappano replace Bostridge's long-favored accompanist, Leif Ove Andsnes, but he has to subdue the piano part just to make Bostridge sound credible in the heavier songs. Pappano makes little impression beyond restrained elegance and civilized caution -- there are some bold, forthright moment, happily, as in Der Atlas. As you can see, we might have been better off for a die-hard fan to give first impressions of this album, but there you go.
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