October 20, 2015 • 6:30 am
Mark Padmore; © Marco Borggreve
Here’s my review for Bachtrack of the third and final evening of the Schubert Trilogy recently performed by Mark Padmore and Kristian Bezuidenhout at Lincoln Center’s White Light Festival:
‘Fremd’ is the very first word of the first song (‘Gute Nacht’) in Franz Schubert’s ‘Winterreise’. And the sensation of being a stranger, an alien among the signposts of ordinary life – with its cottages and mail coaches, its inns and stray dogs – imbued this interpretation of the entire 24-song cycle by the tenor Mark Padmore and the fortepianist Kristian Bezuidenhout.
Filed under: lieder, Lincoln Center, review, Schubert, White Light Festival
October 19, 2015 • 7:21 am
Mark Padmore (l) and Kristian Bezuidenhout (r)
In my latest Musical America piece (behind a paywall), I review the second program in the remarkable Schubert Trilogy from last week at Lincoln Center’s White Light Festival.
Tenor Mark Padmore and fortepianist Kristian Bezuidenhout teamed up for three evenings of Schubert lieder cycles (with a touch of Beethoven for the second program — Schwanengesang prefaced by An die ferne Geliebte, reviewed here). Here’s an excerpt:
In a brief introduction to his Tully Hall recital on Thursday, October 15, the tenor Mark Padmore remarked that the sense of longing encompassed by the German Sehnsucht — a word that defies easy translation — provided the link between the evening’s pair of cycles by Schubert and Beethoven, performed with keyboard partner Kristian Bezuidenhout.
The term recital sounds too coldly objective. Certainly it fails to do justice to the sense they achieved of a “through-composed” emotional journey, without the benefit of staging or design elements: Gesamtkunstwerk of music and poetry on an intimate scale….
Filed under: Beethoven, lieder, Musical America, review, Schubert