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"ARIAS".(Brief Article)(Review)
Matthias Goerne [] "ARIAS" by Mozart, Wagner, Schumann, Humperdinck, Strauss, Korngold, Berg. With Roschmann, soprano. Swedish Radio Symphony Orchestra, Honeck. Txts and translations. Decca 289-467-263-2
If there is any justification for the continued release of aria recordings in an over-documented age, this is it. We are offered a singer in fine voice who mercifully has stage experience in several of the roles, a carefully planned sequence of numbers (here, German arias from Mozart to Berg), with an appealing rarity (Humperdinck's Konigskinder) in the mix, and conducting and orchestral playing on the highest level. Best of all, there is an excellent guest artist in soprano Dorothea Roschmann. Her appearances as Mozart's Pamina and Susanna, Berg's Marie in Wozzeck and both Zerbinetta and Echo in Ariadne auf Naxos give these excerpts a theatrical context that minimizes the usual un fulfilling nature of an aria album.
Goerne has both an intensely musical sense of phrasing -- not at all common anymore -- and the technical means to act on it. Two of his performances here are especially thoughtful interpretations of familiar music. The Count's aria from Le Nozze di Figaro begins with the most dramatically timed recitative in memory. Honeck and Goerne remind us that the Count's rage is always controlled and aristocratic until it bunts out in the final allegro assai section. "Blick, ich umher," Wolfram's contest song from Tannhauser, starts in a suitably awed, amazed and humbled manner that is far more effective than the usual ...
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