미아 페르손 가곡 리사이틀 (로저 비뇰스 반주)
슈베르트: '바위 위의 목동'과 기타 가곡들, 그리그: 6개의 가곡, 시벨리우스: 가곡들
미아 페르손은 이 시대를 대표하는 오페라 히로인의 한 사람으로 사랑받고 있는 스웨덴 출신의 소프라노다. 본 리사이틀 실황은 그가 가곡 분야에서도 남다른 음악성을 가지고 있음을 보여준다. 대작 '바위 위의 목동', '실 잣는 그레첸', '물 위에서 노래함'과 같은 슈베르트의 인기 가곡들과 북구 출신이라는 자신의 정체성을 반영한 그리그, 시벨리우스의 가곡들로 프로그램을 장식하였다.
[수록곡]
Schubert
Suleika I, D720
Ganymed, D544 (Goethe)
Nur wer die Sehnsucht kennt, D877/4
Rastlose Liebe, D138
Du bist die Ruh D776 (Ruckert)
Auf dem Wasser zu singen, D774
Gretchen am Spinnrade, D118
Der Hirt auf dem Felsen, D965 (Von Chezy / Muller)
Richard Hosford (clarinet)
Grieg
Seks Sange, Op. 48
Hjertets Melodier af H. C.Andersen, Op. 5 No. 3 'Jeg elsker Dig'
encore
Sibelius
Varen flyktar hastigt, Op. 13 No. 4 (Text: Runeberg)
Den forsta kyssen, Op. 37 No. 1 (Text: J.L. Runeberg)
Var det en drom? Op. 37 No. 4 (J.J. Wecksell)
Saf, saf, susa, Op. 36 No. 4 (Text: Gustav Froding)
Flickan kom fran sin alsklings mote, Op. 37, No. 5
BBC Music Magazine September 2012 ***
“Persson is beautiful and so is her voice, so she starts with a big advantage. But that is only the start...I did find...that there was a danger of monotony, undercharacterisation and reliance on sheer undeniable vocal beauty. Roger Vignoles is an ideal accompanist, setting the mood with a few notes or chords”
Gramophone Magazine August 2012
“'Gretchen am Spinnrade' is a model of how a middle-weight voice can scale the song's peaks thanks to an inner conviction and trusting how the notes and words can shoulder the dramatic weight...So beautiful is her enunciation in the Swedish-language Sibelius songs that you could take phonetic dictation...The Grieg songs show signs of vocal tiring...In 'Die verschwiegene Nachtigall', though, one can hardly imagine a more alluring nightingale song.”
International Record Review September 2012
“Persson clearly relishes the possibility of characterization particular songs...The voice is light and lyric throughout but there's power too when required, so the final lines of Du bist die Ruh are radiant...However - and this is possibly a subjective caveat - what Persson lacks is the kind of rounded warm tone and inner conviction that makes the best Schubert recitals so warmly satisfying...Hosford is the perfect partner up on the rock”
Sunday Times 15th July 2012
“a lovely, beautifully balanced recital...In an opening Schubert set, Persson, for all the natural brightness of her voice, achieves the right aching heaviness in Lied der Mignon, and a beguiling sense of gentle repose in Du bist die Ruh.”