Hearing this recording was a little anti-climactic, in that with the exception of Schumann’s Op. 135 Mary Queen of Scots songs, I already had a sense of how Röschmann interprets this material. The recital moves forward through time, beginning with Schubert songs, then the Schumann, and Strauss and Wolf at the end. I was struck by the same things that I have been in the past with her performances – the way the mood shifts between sets of songs, as well as within songs themselves, and how every phrase has an interpretive role to play. Mary Stuart has a different quality of character than Gretchen or Mignon; and Röschmann gives the Strauss songs, especially “Die Nacht,” a kind of shimmering quality that is distinct from the other selections. I also found myself appreciating Malcolm Martineau’s piano playing, especially in Strauss’s “Schlechtes Wetter” and Schubert’s “Gretchen am Spinnrade,” where he does those repeating patterns in a more prickly sort of way than I often hear; throughout that song, his playing gives me that feeling of the piano part conversing with the vocal line: or maybe not conversing, exactly, but articulating parts of Gretchen’s character and what she is thinking that aren’t in the vocal part alone.
After I listened to this, I thought about the first recording of Röschmann’s I encountered, the Handel Nine German Arias one, and how at the time since I was expecting a more “early music” sound with less vibrato, I didn’t like it – but I realized years later that despite not having a reaction of immediate and overwhelming enthusiasm, I had unwittingly managed basically to memorize the thing, I had listened to it that often. Her voice has changed since then – high notes take more effort, and her intonation can be iffy up there (e.g. in live versions of “Schlechtes Wetter,” though not on this recording as far as I can tell) and I think the sound doesn’t have quite the same gloss as it did ten years ago, but that said, I can and do listen to her sing pretty much anything over and over. Not just the sound of her voice itself (she can still lay out those ringing, bell-like high notes, like in “Die Nacht” when she feels like it; and as I remember feeling when I heard her as the Countess that one time in L.A., there is a quality to the voice in general that just gets me every time) but all the little details of the interpretation too. I said once after hearing “Der König in Thule” in a recital that I wished I could ask her to do it again, because I was fairly sure there were bits of detail that I had missed – and hey, here it is! to repeat and absorb at leisure.
If I was in the business of making requests, I would ask her to do a CD just of Hugo Wolf songs – just for fun, you know?