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BRAHMS: Alto Rhapsody / SCHUMANN: Frauenliebe und leben (Ferrier) (1947-1950)

Composer(s):Brahms, JohannesSchumann, Robert
Artist(s)
Period(s) Romantic
Genre Classical Music
Category Choral - SecularVocal
Catalogue 8.111009
Label Naxos Historical
Quality   320kbps
 This album is not available in your country due to licensing restrictions or copyright laws that provide or may provide for terms of protection for sound recordings that differ from the rest of the world.


Kathleen Ferrier was the most significant British singer to emerge following the end of the Second World War. Although her professional singing career spanned only a single decade (1942-1953) she achieved international recognition in a remarkably short time. The works presented here capture a voice which the conductor Leopold Stokowski described as “...so full and beautiful, the intonation always perfect, the phrasing so elastic...”. Ferrier’s interpretations were also celebrated for their poignancy, notably in her reading of Brahms’s Vier ernste Gesänge, recorded just three years before the singer’s untimely death.


   



Highly recommanded
Review By AM154535,January 2014

Brilliant performance, good quality despite its age.



Review By Penguin Guide,January 2009

The Naxos sound is undoubtedly clearer and brighter, but this has been achieved by Mark Obert-Thorn controversially re-pitching the recordings at A = 440 Hertz instead of 428 Hertz of the original Decca masters. Those wanting Mahler’s Das Lied as a coupling will find the Regis sound again satisfactory, but the Naxos collection is more tempting. Botschaft and the Sapphische Ode are most touching, with Phyllis Spurr accompanying sensitively…in the Four Serious Songs the dark intensity of Ferrier’s singing is unforgettable, and again the transfers are excellent and equally truthful to the vocal timbre and piano. No translations are included on either disc.

Review By Penguin Guide,January 2009

Ferrier was a deeply impressive Lieder singer, but there are more tender, more loving emotions in Schumann’s cycle than she was able to convey at that stage of her career (1950). She is not helped by the limited accompaniment of John Newmark. Nevertheless, who will fail to be moved by her touching singing of the closing song, Nun last du mir den ersten Schmerz getan, and the Brahms coupling make this reissue indispensable.





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