Pregardien Injects Refreshingly Unique Vision Into "Die scho
Raymond Vacchino | Toronto, ON. Canada | 07/22/2008
(5 out of 5 stars)
"The list of remarkable tenors is growing rapidly with ranging desirable performances from Kaufmann, Kennedy, Villazon and Hepner to name a few. We are now put under the magical spell of Christoph Pregardien's vision of Schubert's 'Die schone Mullerin'. The miracle Schubert achieved was to fuse words and music into works of dramatic power and poetic insight which transcend both words and music. His inspiration was the poetry of the German Romantics; its hallmarks being simplicity, passion, lyricism and the human heart-spoke directly to his musical sensibility. Both 'Die schone Mullerin and Winterreise' are settings of poems by Wilhelm Muller (1794-1827). The sound of the brook haunts 'Die schone Mullerin', in a succession of moods-lively (Wohin?), quiet (Des Mullers Blumen), agitated (Eifersucht und Stolz), consolatory (der Muller und der Bach).
At the onset of this cycle is "Das Wandern", and Pregardien immediately sets the mood of boisterous good spirits with ardent enthusiasm, exemplary diction, poise, and highly focused tone. The freshness and grace of his lyric tone displayed here is carried throughout the entire cycle. The success of these performances is most certainly a result of the compelling collaboration between Pregardien and pianist Michael Gees, whose superb ability to delicately draw mellow colourings, unequivocal direction of line, and beauty of conception makes for a marvellous encounter. Eight of the songs are strophic, and in every case Pregardien's repetition of the musical material does not stale, but rather builds emotion such as anticipation in (Ungeduld), anger and fear in (Der Jager), or the calm of resignation in (Des Baches Wiegenlied). "Am Feierabend" with its recitative creates a charming miniature, and Pregardien conveys the various characteristics from climatic high notes to the warm and full-bodied tenderness in its middle register with touching devotion. I am most deeply moved by Pregardien's interpretations of "Der Neugierige", and "Des Mullers Blumen". In the former, Pregardien fills each note with a sense of longing and tender lament that deeply touches you by the sincerity of its appeal. The later shows with delight his sweetness of tone and silvery tenor lyricism. The slightly slower tempi Pregardien has chosen to sing at, (much like Lois Marshall's recording) makes for a greater seamless narrative, and the clarity of his diction and innate musical sensibility revitalises the entire cycle. The nuanced dynamics Pregardien conveys and his unique use of frequent touches of discreet ornamentation, are even more enlightened by Gees' superb and exceptionally sensitive pianism. Overall, this is a performance on a grand scale in the scheme of other tenors' recordings of "Die schone Mullerin", and will undoubtably take its place as one of the greatest and most prominent.
"Always technique is in the service of impassioned expression. Form and utterance combine to dazzle the mind and move the heart." (Mary M'Geer) She may well have been describing Pergardien's ability to "dazzle the mind, and move the heart!"
Author: Raymond Vacchino M.Mus. A.Mus. L.R.S.M. Licentiate (hon.)
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![Schubert: Die schöne Müllerin [Hybrid SACD]](https://nationalbookswap.com/cd//l/45/0945/6170945.jpg)
