Franz Schubert, Thomas Hampson, Marie McLaughlin, Graham Johnson - The Hyperion Schubert Edition 14 / Thomas Hampson, Graham Johnson

In volume 13 of this magnificent series of Schubert songs, Thomas Hampson played a supporting role to soprano Marie McLaughlin's recital. Here the roles are reversed: Hampson takes center stage, and McLaughlin assists, this time in a program of poetry largely by Mayrhofer, and concerned almost exclusively with the theme of ancient Greece. As always, the variety and abundance of Schubert's inspiration is astounding, and Graham Johnson's notes make very interesting reading. --David Hurwitz Amazon.com

I simply hate Fassbaender's singing

It makes me actively uncomfortable. Fassbaender has a very, very big dramatic mezzo voice that seems ideal for certain opera roles but is oh so wrong and unsuitable for this Schubert lied disc. Her voice is out of control with prominent pitch and dynamic problems that I'm surprised haven't been mentioned by earlier reviewers. Take Nachtstuck (track 3), a soft, somber song where her voice is either too loud or sounds like she is about to lose control and sing too loudly. There are also obvious pitch and intonation problems throughout the disc (check the sample for "An den Tod" (Track 5) available on amazon - the pitch problems are clear from just this short excerpt).

The singing performance is a shame because I think Graham Johnson accompanies very well and the disc contains many unusual numbers. which I was looking forward to hearing and enjoying. Not recommended. November 26, 2007

Spectrally fascinating

Some voices possess such amazingly distinctive character and style! Brigitte Fassbaender is definitely one such voice. Her haunting performance of Mussorgsky's "Songs and Dances of Death" had set me on a journey of discovery. The peerless quality that Ms. Fassbaender has for depicting the darker side of beauty has been consistently delivered. Her Brangane, alongside the achingly superlative Margaret Price's Isolde, is taut with emotion and redolent with beauty. It must therefore have been cold logic or supernatural omen that led me to discover that both these enchanting singers each have a programme of lieder in the Hyperion Schubert Edition. Dame Price's programme of songs is based on the theme of night whereas Ms. Fassbaender's is centred in the theme of death.

Dame Price and Ms. Fassbaender both share an alluring vocal quality: their voices are consistently sweet and rich (respectively...though BOTH are ravishingly beautiful) but interspersed with moments of celestial purity. Take track 12 here "Lied des Orpheus". Listen to the change in colouration where she sings the words "Klage" in the first line of the 5th verse. Or again in track 14 where, after introducing her menacing reference to the cold north, she then steals your very soul with the word "tragen" in the 5th verse. Listen to Dame Price's CD and you will find a similar appeal.

Graham Johnson's accompaniment is not only beautifully played but perfectly complements his singer. His sense of control is clearly well-studied but not artificial in the least. There is a natural feel. The sound quality is pristine and the very slight echo in the acoustics adds to the proper "graveyard" feel of the work (see the picture on the cover...very pensive!).

Finally, let me just say (with GREAT emphasis) that despite all this talk of death, this is a performance that will hold your rapt attention. A tried and proven stunner. We are experiencing the age of one who will be regarded as a great legend in the future. For me, she has already achieved that status. I highly recommend this disc, together with Dame Margaret Price's sealed performance of nocturnal bliss! May 18, 2004

Powerful and Convincing

What stands out in Fassbaender's singing is the absolute authenticity of her performance. So many Lieder singers are concerned with their tone and other factors extraneous to the authentic identification with their character. On this album Fassbaender totally identifies with her characters and lets them speak. Her singing is powerful and flawless. The outstanding songs on this album are Lied des Orpheus, a song I hadn't been familiar with previously. The story is very moving and Fassbaender renders them absolutely convincingly. Das Zugenlocklein is another new song for me. Beautifully sung and played. As for Der Tod und das Madchen I have heard Fischer-Dieskau's version previously and his rendering cannot be surpassed. Overall, this is a fabulous album and I cannot recommend it more highly. October 20, 2002

Very Jumpy Young Schubert

There has been a lot of unfair things said about Adrian Thompson for this CD, and at first listen, that may appear justified; however one need only to look at the "D" numbers, which attempt to put Schubert's song in chronological order, to realize that these are very early Schubert songs, and although they are enjoyable, one can sense that he has not quite mastered the range of the tenor voice (in the very first song, the voice is pushed to almost comical extremes as the distance between high and low seems quite unreasonable). It is this same quality of theses songs that makes Thompson's high, youthful sounding tenor so appropriate for this recording.

Also, enjoy the Don Gayseros trio and look for the "Schubert Boogie" in the last track. It's quite starteling.

**This review is for Volume 12, despite it somehow appearing under a Volume 11** December 3, 2001

Terrific, dark

Those looking for the darker side of Schubert will find it here. My favorite of the series (along with Margaret Price). February 24, 2001

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