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Susan Graham at Carnegie Hall
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Susan Graham at Carnegie Hall  (Audio CD) 
by Alban Berg

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Description:

Susan Graham has firmly established herself as one of our leading mezzos in opera and recital. Her voice, infinitely varied, perfectly focused, and produced, has the mellow glow of burnished bronze, but at the top she narrows her vibrato to give it a brighter, more intense quality. This live recording of her Carnegie Hall concert last April combines total vocal control with the spontaneity and excitement of a performance--complete with audience reactions--and displays her stylistic versatility, her charm, expressiveness, and communicative projection to brilliant advantage. The program features two German song cycles and several groups from her signature French repertoire. Brahms' "Gypsy Songs," one of his numerous Hungarian-influenced compositions, use texts derived from Hungarian folksongs and deal essentially with love and yearning. Graham captures all their changing moods, from melancholy to exuberance, making the last one soar ecstatically, but sometimes loses their simplicity in mannerisms and over-inflection. Alban Berg's "Seven Early Songs" on texts by various poets, written long before he became an atonalist, are super-romantic, amorous, dramatic; only the two final ones harbor hints of his future style. They are sung with rapturous inwardness. Four songs by Debussy on his own descriptive, pensive verses are calm, dreamy, mellow, caressing; four by Poulenc on poems of Apollinaire are satirical parodies; one is a bravura patter-song. Two songs by André Messager and one by Moises Simons, taken from their operettas, are basically cabaret songs and grand fun; they give Graham a fine opportunity to show the lighter side of her artistry. The encores include a serious song by Reynaldo Hahn, a humorous one by Debussy, Mahler's "Liebst du um Schönheit," a love song he wrote for his wife, and the first performance of a song written for Susan Graham by Ben Moore: a hilarious spoof on the fate of a mezzo condemned to sing trouser roles--with quotes from them--when she longs to be a "Sexy Lady." --Edith Eisler

Product Details:
Audio CD Release Date: October 07, 2003
Studio: Warner Classics
Composer: Alban Berg, Johannes Brahms, Claude Debussy, Reynaldo Hahn, Gustav Mahler, Andre Messager, Ben Moore, Francis Poulenc, Moises Simons
Number Of Discs: 1
Format: Live
Average Customer Rating: based on 1 reviews
Track Listing:
1. Zigeunerlieder (8), for voice & piano (arranged from Op. 103): He, Zigeuner, greife in die Saiten ein!
2. Zigeunerlieder (8), for voice & piano (arranged from Op. 103): Hochget�rmte Rimaflut
3. Zigeunerlieder (8), for voice & piano (arranged from Op. 103): Wisst ihr, wann mein Kindchen am allersch�nsten ist?
4. Zigeunerlieder (8), for voice & piano (arranged from Op. 103): Lieber Gott, du wei�t
5. Zigeunerlieder (8), for voice & piano (arranged from Op. 103): Brauner Bursche f�hrt zum Tanze
6. Zigeunerlieder (8), for voice & piano (arranged from Op. 103): R�slein dreie in der Reihe
7. Zigeunerlieder (8), for voice & piano (arranged from Op. 103): Kommt dir manchmal in den Sinn
8. Zigeunerlieder (8), for voice & piano (arranged from Op. 103): Rote Abendwolken ziehn am Firmament
9. Proses lyriques (4), song collection for voice & piano, L. 84: De r�ve
10. Proses lyriques (4), song collection for voice & piano, L. 84: De gr�ve
11. Proses lyriques (4), song collection for voice & piano, L. 84: De fleurs
12. Proses lyriques (4), song collection for voice & piano, L. 84: De soir
13. Early Songs (7), for voice & piano (or orchestra): Nacht
14. Early Songs (7), for voice & piano (or orchestra): Schilflied
15. Early Songs (7), for voice & piano (or orchestra): Die Nachtigall
16. Early Songs (7), for voice & piano (or orchestra): Traumgekr�nt
17. Early Songs (7), for voice & piano (or orchestra): Im Zimmer
18. Early Songs (7), for voice & piano (or orchestra): Liebesode
19. Early Songs (7), for voice & piano (or orchestra): Sommertage
20. Quatre po�mes de Guillaume Apollinaire, for voice & piano, FP 58: L'Anguille
21. Quatre po�mes de Guillaume Apollinaire, for voice & piano, FP 58: Carte postale
22. Quatre po�mes de Guillaume Apollinaire, for voice & piano, FP 58: Avant le cim�ma
23. Quatre po�mes de Guillaume Apollinaire, for voice & piano, FP 58: 1904
24. Les P'tites Michu, operetta: Vois-tu, je m'en veux
25. L' Amour masqu�, operetta: J'ai deux amants
26. Toi c'est moi, operetta: C'est �a la vie, c'est �a l'amour
27. A Chloris, for voice & piano (from 'Melodies, Book II')
28. Fantoches ('Scaramouche et Pulcinella'), song for voice & piano, L. 21
29. Liebst du um Sch�nheit, song for voice & piano in C major (R�ckert Lieder No. 5)
30. (I Can Be A) Sexy Lady, for voice & piano
 
Customer Reviews:
Average Customer Review:5.0
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7 of 8 found the following review helpful:

5Susan Graham is a True Recitalist  Dec 15, 2004
Though not usually one for true live recordings that include audience applause and response, SUSAN GRAHAM AT CARNEGIE HALL works well on every level. Not only is she in top form (as is her collaborator Malcolm Martineau at he piano) vocally and interpretatively, she demonstrates here an obvious rapport with her audience that is magical.

The repertoire here could not be more varied - and successful in every portion of this recital. Graham's voice has that ability to move from her usual mezzo soprano range into the lyric/spinto range with the greatest of ease. The Brahms 'Zigeunerlieder' are full of zest and sparkle. The Debussy 'Proses lyriques' are sensually liquid and Graham's French diction is as perfect as it gets: the Poulenc cycle feels so very natural for all its underlying difficulties. The too rarely heard Berg 'Sieben fruhe Lieder' are elegant and involved and the Messanger and Simons highlight Graham's ease of strolling through unknown works, making them sound so familiar.

Encores are included and for once "thank goodness!" Susan Graham has a special affinity for Reynaldo Hahn and she has mad 'A Chloris' her very own. For the Mahlerites she offers 'Liebst du um Schonheit' (including a comment to the audience) and a Debussy song and a witty ditty written for her by Ben Moore - just for fun.

The audience fortunate enough to have been present during this live recording on April 14, 2003 have now a living memento. For the rest of us that magic is fully contained on this very special recording. Grady Harp, December 2004

 
 
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