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United Kingdom Various: Günther Groissböck (bass), Julius Drake (piano). Wigmore Hall, London. 19.12.2022. (KMcD)
Schubert – Prometheus, D674; Grenzen der Menschheit, D716; Ganymed, D544; Memnon, D541; Am Strome, D539; Auf der Donau, D553, Der Sieg, D805; Der Schiffer, D536
Loewe – Die Uhr, Op.123 No.3; Der heilige Franziskus, Op.75 No.3; Der gefangene Admiral, Op.115; Odins Meeresritt, Op.118
R. Strauss – Heimliche Aufforderung, Op.27 No.3; Zueignung, Op.10 No.1; Allerseelen, Op.10 No.8; Befreit, Op.39 No.4
Mahler – Des Knaben Wunderhorn (choice): Nicht wiedersehen!; Revelge; Zu Strassburg auf der Schanz; Der Tamboursg’promote; Urlicht
Günther Groissböck’s excellent Wigmore Hall debut in January (overview click on right here) gave discover of an artist on the peak of his interpretative powers, so his return this month was eagerly anticipated. And he didn’t disappoint. Indeed, this magnificent recital – a masterclass in the best way to interpret German lieder – was even higher than his recital earlier within the yr – a feat that I assumed can be nigh unimaginable to attain. With a unique accompanist this time spherical, the ever-attentive Julius Drake, each artists took the viewers on an illuminating musical journey that was spellbinding from begin to end.
Entitled Freiheit! Freiheit? (Freedom! Freedom?), the judiciously chosen songs every handled the which means of, expertise of, or eager for freedom from completely different views. The first part of the programme, a bunch of eight lieder by Schubert, allowed Groissböck to show his expertise as a storyteller non pareil. He launched into Prometheus with stentorian tones, his inky-black bass fashioning Goethe’s prose a-new, but was equally as compelling within the quieter moments, honing his large voice right down to an eloquent pianissimo.
This vein was continued in Memnon, which was delivered with quiet introspection, in distinction to the climax of Der Sieg (The Victory) the place Groissböck recounted the blow that felled the sphinx – shaking the very foundations of the Wigmore Hall with sonorous tone. Indeed, all through this extremely various collection of songs, his means to color the voice, inflect the textual content and deploy a variety of dynamics to replicate the which means of every one was each formidable and arresting.
Four songs by Carl Loewe accomplished the primary half, not solely affording the viewers the chance to listen to these rarities however permitting us to marvel additional at Groissböck’s superlative interpretive powers and rock-solid approach. Der heilige Franziskus (Saint Francis) revealed his means to spin seemingly infinite musical traces, whereas the high-lying climax was voiced effortlessly. There was a nautical flavour to the final two songs on this group, Der Gefangene Admiral (The captive admiral) and Odins Meeresritt (Odin’s sea-ride) which showcased the singer’s innate theatricality – the storytelling in every was immaculate – and his phenomenal vocal vary.
After the interval we have been on extra acquainted territory with a collection of Strauss’s lieder, however what made Groissböck’s performances so participating was that Zueignung (Dedication), Allerseelen (All Souls’ Day) and Befriet (Released) are normally the protect of sopranos. How would a voice of this dimension and temperament navigate its manner across the composer’s delicately contoured phrases? Groissböck managed effortlessly, infusing every with which means and pathos – once more his scrupulous consideration to the textual content, phrasing and dynamics was astonishing, no extra so than within the first music’s repeated ‘Habe Dank’ – every infused with a unique array of vocal colors.
Five songs from Mahler’s Des Knaben Wunderhorn accomplished this outstanding recital, starting with an impassioned, beguiling account of Nicht wiedersehen! (Never to satisfy once more!). Groissböck pared down his tone to barely a whisper at occasions, ending with essentially the most wonderful diminuendo on the closing phrase: ‘Ade, mein herzallerliebster Schatz! Ade!’ (‘Farewell, my dearest love! Farewell!’). Quiet resignation gave method to bitter anger in Revelge (Reveille) – every repetition of ‘Tralali, Tralaley, Tralalera’ extra indignant than the final, every phrase dripping with resentment on the futility of warfare.
In Der Tamboursg’promote (The drummer-boy) Groissböck actually rattled the rafters of the Wigmore Hall, summoning up reserves of tone to drive residence the music’s climax. We have been then handled to a miraculously-introverted rendition of Urlicht (Primordial gentle) – it was as if time stood nonetheless – that opening phrase ‘O Röschen rot’ (‘O red rose’) balm to the soul. There was no manner the appreciative viewers was going to permit Groissböck to depart with out an encore, and given every little thing that had gone earlier than, Schubert’s An die Musik (To Music) was the right selection.
At the tip my buddy turned to me and mentioned: ‘I don’t assume I’ve ever heard German lieder sung that properly’. He was not flawed. I’ve not often encountered singing of this calibre, so it’s to be hoped Gunther Groissböck turns into a everlasting fixture on the Wigmore Hall’s calendar. An exemplary night of music-making.
Keith McDonnell