Maurice Ravel (1875-1937) : Three beautiful birds of Paradise, snippets of Three songs Mr. 69 ; Air, fire, extract of the Child and The Enchantments Mr. 71. Leonard Bernstein (1918-1990) : Silhouette (Galilee). Olivier Messiaen (1908-1992) : Bonjour toi, colombe verte, extract of Harawi. Gabriel Fauré (1845-1924) : Paradise, excerpt from The Song of Eve, op. 95. Claude Debussy (1862-1918) : Apparition, L. 53. Daniel-Lesur (1908-2002) : What Adam said to Eve, Clear, extract, Clear as day. Igor Stravinsky (1882-1971) : The Pastoral Care. Hugo Wolf (1860-1903) : Die Spröde ; Die Bekehrte, extracts from Goethe Lieder. Johannes Brahms (1833-1897) : Salamander, excerpt from Fünf Lieder op. 107. Aribert Reimann (born in 1936) : Gib mir den Apfel, extract Kinderlieder. Benjamin Britten (1913-1976) : A Poison Tree. Hans Pfitzner (1869-1949) : Röschen biss den Apfel an, extract from Alte Weisen op. 33. Sergei Rachmaninov (1873-1943) : A-oo, a preview of Six Romances, op. 38. Charles Ives (1874-1954) : Evening, excerpt from 114 Songs. Henry Purcell (1659-1695) : Sleep, Adam, sleep Z195. Franz Schubert (1797-1828) : Auflösung D. 807 and Abendstern D. 806. Robert Schumann (1810-1856) : Jetzt sank of the Evening goldner Schein, extrait de Das Paradies und die Peri op. 50 ; Warte, warte, wilder Schiffmann, extract from the Liederkreis op. 24. Hanns Eisler (1898-1962) : Jeden Morgen, mein Brot zu verdienen ; Diese Stadt hat mich belehrt, excerpts of Hollywood-Elegien. Gustav Mahler (1860-1911) : Das irdische Leben snippet Lieder aus ‘Des Knaben Wunderhorn’. George Crumb (born in 1929) : Wind Elegy, excerpt from Three Early Songs. Anna Prohaska, soprano. Julius Drake, piano. (1 CD) Alpha. Recorded in July 2019 at the studio 2 of the bavarian Radio of Munich. Notice trilingual : German-English-French. Duration : 64:00
In an exciting program, composite devil, Anna Prohaska and Julian Drake should be the listener to a new exploration of the repertoire of chant-piano.
Anna Prohaska was the art for his solo recitals, presenting the thematic programmes and ambitious. Some still have the memory of the tour “Behind the lines” in which the young soprano evoked the horrors of the war. In this new album, this is another topic she addresses in dealing with the trauma of the original Fall. Expertly built as usual, the program is divided into six distinct phases : Morning in paradise, Eve awakens, Arcadia / Idyll a pastoral Play with fire / Eve and the evil / The fall of man, Banishment / Exodus / Remember and finally Life on earth. In these axes structural lock of twenty-five pieces for voice and piano, sung in four languages, and covering nearly three and a half centuries of western music. Several of the selected composers are still alive. In this theme of lost innocence and necessarily sought, it is not surprising to find a number of pieces from the world of american : Bernstein, Ives and Crumb. If the big names of the German lieder are duly represented – Brahms, Schubert, Schumann, Mahler, Wolf, Pfitzner, Eisler, Reiman. The CD is also beautiful French song : excerpts taken from Ravel, Fauré, Debussy, Messiaen, Daniel-Lesur, whose it should be noted that they illustrate essentially the phase prélapsaire of the program, fit perfectly in the trajectory drawn by the young artist.
The instrument of Anna Prohaska is obviously that of a high soprano. Too much light may be, for certain parts for which one has used to hear the voice more dramatic. “Auflösung “, for example, is part of Schubert that thrived in the past Kirsten Flagstad, Jessye Norman, Leontyne Price or Grace Bumbry. The comparison is not necessarily to the advantage of the young novice. In the vocalizations of the air from the fire The Child and the spells, given here in its transcription for voice and piano, our soprano, by contrast, is in his universe voice, and she gives heart to joy. The diction is not always exemplary, and it will sometimes be difficult to discern if Prohaska sings in German, English or French. For our language, we had a little lost the habit of this articulation is precious and affected, which had almost become the rule in the 1980s and 1990s, when the good singers French were so rare. But, generally speaking, the voice is well controlled, and the colors were fresh and light and the stamp are especially suitable in the early stages of the program, when there is still the innocence of the first woman of mankind.
The accompaniment of Julius Drake is a delight for the mind and for the ear, and the pianist has a lot to do in the dramatic coherence and musical program exciting and original, that renews our approach to the melody and restores its letters of nobility to the ritual of the recital, voice-piano.
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