Classical

Anne Sofie von Otter - In My Element (2008)

2012-05-11T17:15:36Z

Anne Sofie von Otter - In My Element (2008)

Cd 1

01 - Les contes d'Hoffmann: Belle nuit, o nuit d'amour by Jacques Offenbach
02 - La Grande-Duchesse De Gérolstein: Portez armes!
Vous aimez le danger ... Ah, que j'aime les militaires by Jacques Offenbach
03 - Carmen: L'amour est un oiseau rebelle "Habañera" by Georges Bizet
04 - Carmen: Les tringles des sistres tintaient by Georges Bizet
05 - Ariadne Auf Naxos: Seien wir wieder gut by Richard Strauss
06 - La clemenza di Tito, K 621: Parto, parto, ma tu ben mio by Wolfgang Amadeus Mozart
07 - La clemenza di Tito, K 621: Oh Dei, che smania è questo by Wolfgang Amadeus Mozart
08 - Ariodante: Qui d'amor, nel suo linguaggio by George Frideric Handel
09 - Idomeneo, K 366: Ah qual gelido orror...Il padre adorato by Wolfgang Amadeus Mozart
10 - Idomeneo, K 366: No, la morte io non pavento by Wolfgang Amadeus Mozart
11 - Hercules, HWV 60: The world, when day's career is run by George Frideric Handel
12 - Hercules, HWV 60: When beauty's sorrows livery wears by George Frideric Handel
13 - Le nozze di Figaro, K 492: Non so più cosa son, cosa faccio by Wolfgang Amadeus Mozart
14 - Le nozze di Figaro, K 492: Voi che sapete che cosa è amor by Wolfgang Amadeus Mozart
15 - L'Incoronazione di Poppea: Adagiati, Poppea by Claudio Monteverdi
16 - L'Incoronazione di Poppea: Disprezzata Regina by Claudio Monteverdi
17 - L'Incoronazione di Poppea: A Dio, Roma! a Dio, patria! amici, a Dio! by Claudio Monteverdi
18 - Giulio Cesare, HWV 17: Svegliatevi nel core by George Frideric Handel
19 - Giulio Cesare, HWV 17: Cara speme, questo core by George Frideric Handel

Cd 2

01 - I let the music speak by Benny Andersson
02 - No Wonder by Elvis Costello
03 - I Want To Vanish by Elvis Costello
04 - Ronde d'amour: Ah! si l'amour prenait racine by Cécile Louise Chaminade
05 - L'Amour captif: Mignonne, à l'amour j'ai lié les alies by Cécile Louise Chaminade
06 - Propaganda Songs (9): Buddy on the Nightshift by Kurt Weill
07 - Lady in the Dark: My ship by Kurt Weill
08 - Happy End: Surabaya Johnny by Kurt Weill
09 - Seven Songs on Folk Style set to poems by Celakovsky: It's your affair by Pavel Haas
10 - Seven Songs on Folk Style set to poems by Celakovsky: A lover's gift by Pavel Haas
11 - Seven Songs on Folk Style set to poems by Celakovsky: Doves are courting by Pavel Haas
12 - Seven Songs on Folk Style set to poems by Celakovsky: Broken Promise by Pavel Haas
13 - Seven Songs on Folk Style set to poems by Celakovsky: A promise by Pavel Haas
14 - Seven Songs on Folk Style set to poems by Celakovsky: Tears and sighs by Pavel Haas
15 - Seven Songs on Folk Style set to poems by Celakovsky: Her hero by Pavel Haas
16 - Haugtussa, Op. 67: no 8, At the brook by Edvard Grieg
17 - Im Abendrot, D 799 by Franz Schubert
18 - Der Erlkönig, D 328 by Franz Schubert
19 - Zigeunerlieder, Op. 103: no 1, He, Zigeuner, greife by Johannes Brahms
20 - Zigeunerlieder, Op. 103: no 5, Brauner Bursche führt zum Tanz by Johannes Brahms
21 - Frauenliebe und Leben, Op. 42: no 6, Süsser Freund by Robert Schumann
22 - 5 Heitere Gesänge, Op. 125: no 1, Die Meerfee by Robert Schumann
23 - Des Knaben Wunderhorn: no 7, Rheinlegendchen by Gustav Mahler
24 - Kindertotenlieder: Oft denk' ich, sie sind nur ausgegangen by Gustav Mahler
25 - Dido and Aeneas, Z 626: Thy hand, Belinda...When I am laid in earth by Henry Purcell
26 - In darkness let me dwell by John Dowland

Claudio Abbado 	Conductor
Mikael Augustsson 	Accordion
Berlin Philharmonic Orchestra 	
David Björkman 	Violin
Michael Blair 	Drums (Bass), Percussion
Pierre Boulez 	Conductor
Chamber Orchestra of Europe 	
Stéphanie d'Oustrac 	Vocals
Albert Dohmen 	Vocals
Dresden Staatskapelle 	
English Baroque Soloists 	Ensemble
The English Concert 	
Bengt Forsberg 	Organ (Hammond), Piano
John Eliot Gardiner 	Conductor
Svante Henryson 	Cello
Fredrik Jonsson 	Bass (Acoustic)
Roland Kress 	Violin
James Levine 	Conductor
Jakob Lindberg 	Flute, Theorbo
Magnus Lindberg 	Flute
Johan Lindström 	Guitar (Acoustic), Guitar (Electric)
Metropolitan Opera Orchestra 	
Marc Minkowski 	Conductor
Les Musiciens du Louvre - Grenoble 	Ensemble,
Les Musiciens du Louvre - Grenoble Chorus 	
NDR Symphony Orchestra 	
Steve Nieve 	Celeste, Organ
Orféon Donostiarra 	Choir/Chorus
Anne Sofie von Otter 	Mezzo-Soprano (Vocal), Primary Artist
Magnus Persson 	Drums, Marimba, Percussion, Vibraphone
Trevor Pinnock 	Conductor
Bebe Risenfors 	Accordion, Clarinet
Jakob Ruthberg 	Viola
Jose Antonio Sainz 	Choir Master
Mats Schubert 	Piano
Giuseppe Sinopoli 	Conductor
Jörgen Stenberg 	Vibraphone
Vienna Philharmonic Orchestra 
Jory Vinikour 	Organ
Georg "Jojje" Wadenius 	Arranger, Guitar
Anna Wallgren 	Cello

There has rarely been a singer as polymorphically talented in as diverse a repertoire as Anne Sofie von Otter. Few other singers are as at home in Monteverdi as in Mahler, in Mozart as in Haas, in Handel as in Weill, in Dowland as in Costello, in Bizet as in ABBA. Whatever the repertoire, the Swedish singer's diction is as perfect as her intonation; not a syllable or a note sounds anything less than utterly natural. Her performances are as fully thought through as her emotions are fully felt. No matter how expressive the music or how affecting her singing, she understands what she is performing with her head as well as her heart. Some listeners may complain that von Otter's mezzo-soprano is not a perfect instrument, that her tone lacks creaminess, and her phrasing is sometimes wanting in warmth. But the broad consensus is that von Otter's voice is so ideally deployed, her technique so supremely polished, and her feeling so clearly honest, that her occasional lack of warmth is of negligible importance. Whether accompanied by her pianist Bengt Forsberg or by the Metropolitan Opera Orchestra, von Otter's performances are beautifully framed. In these performances recorded between 1988 and 2004, Deutsche Grammophon's digital sound is invariably transparent and immediate. ---James Leonard, Rovi

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Anne Sofie von Otter sings Baroque Arias (1990)

2018-05-18T13:36:43Z

Anne Sofie von Otter sings Baroque Arias (1990)

Handel, George Frideric
1 Hercules, HWV 60, Act III: Accompagnato: Where shall I fly Where hide this guilty head
2 Giulio Cesare in Egitto, HWV 17, Act III: Recitative: E pur così in un giorno

Monteverdi, Claudio
3 Scherzi musicali, SV 230-245 - O rosetta, che rosetta, SV 237
4 Scherzi musicali, SV 230-245 - La violetta ch'en su l'herbetta, SV 240
5 Lamento d'Arianna, SV 22 - 1a parte - Lasciatemi morire

Telemann, Georg Philipp
6 Trauer - Music eines kunsterfahrenen Canarienvogels, TWV 20:37

Handel, George Frideric
7 Semele, HWV 58, Act II: Aria: Where'er you walk

Anne Sofie Von Otter - mezzo-soprano
Drottningholms Barockensemble
Anders Õhrwall - conductor

This is rather a special record and worth looking out for in spite of its poor value in playing-time. With one additional item (the aria by Johan Roman), it is a transfer of the LP which this now-famous singer made in 1983 and which was her first solo recording. I remember it well, though it was unissued here, because a reader of Gramophone in Switzerland heard it and was so impressed that he very kindly sent me a copy with a covering letter which mentioned recent performances in Hansel und Gretel and La clemenza di Tito in which ''she displayed a most beautiful and full-bodied mezzo voice''. He hoped for more, particularly for some operatic recordings, and, as we know, did not have long to wait. The voice heard here is perhaps a shade lighter than the one we have come to know, and the art, though strong in character, is just a little less bold. But there is no mistaking the distinction. Dajaneira's great scene in Hercules is vividly dramatic and highly accomplished in technical skill. Cleopatra's ''Piangero'' is warm but unencumbered by sticky romanticism. The Monteverdi songs are most delightful of all, although one should not forget the extra item, the charmingly pastoral Agnus Dei from Roman's Swedish Mass, which was recorded at a live performance in Stockholm in October 1983. The 'Canary' Cantata poses the problem of just how much overt satire should be allowed into the singer's performance—personally, I could do with a little less. I would also like less of the bellows effect (squeeze and fade) from the baroque strings in ''Where'er you walk''; perhaps even a more thorough-going commitment to legato in the voice. And we are all likely to wish the church-acoustics were less reverberant. Still, there is pleasure and interest in the record, and it has an assured place in the archives.' ---gramophone.co.uk

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Anne Sofie von Otter – Bach (2009)

2011-06-19T08:41:53Z

Anne Sofie von Otter – Bach (2009)


01. Widerstehe doch der Sünde
02. Aria Schläfert aller Sorgen Kummer
03. 5. Aria-Duet Wenn des Kreuzes Bitterkeiten
04. No.47 Aria (Alto) Erbarme dich, mein Gott
05. 5. Aria Kommt, ihr angefocht'nen Sünder
06. 1. Sinfonia
07. 7. Aria Nichts kann mich erretten
08. Sinfonia
09. Agnus Dei				play
10. Aria (Duet) Et misericordia
11. 1. Duett O Ewigkeit, du Donnerwort Herr, ich warte  play
12. 1. Sei Lob und Ehr dem höchsten Gut

Anne Sofie von Otter (Mezzo Soprano)
Karin Roman (Soprano)
Anders J. Dahlin (Countertenor)
Jakob Bloch Jesperen (Bass)
Tomas Medici (Tenor)
Concerto Copenhagen
Lars Ulrik Mortensen - conductor

Anne Sofie von Otter grew up singing Bach in a choir and began her illustrious solo career with the St. John Passion. “This disc,” she says, “is like coming back full circle.” I wouldn’t put it quite that way. Surely, von Otter has too many vistas to explore, too many worlds yet to conquer before the circle can be closed. But she is revisiting her roots, and doing so in a characteristically imaginative way. Rather than recording three of the four alto cantatas, she has assembled a collection of 12 numbers from the cantatas, the St. Matthew Passion, the B-Minor Mass, and the Magnificat. Only six (from BWV 54, 197, 30, 74, the Passion, and the Mass) are solo arias; three (from BWV 197, BWV 60, and the Magnificat), are duets, and one (from BWV 117) is a chorus—sung here by four soloists. Furthermore, there are two instrumental sinfonias (from BWV 35 and 12). Thus, in an unusual demonstration of generosity, von Otter commands the spotlight in only half of the numbers on the disc. In any event, von Otter sings with her accustomed intelligence and conviction. The voice can be a tad thin, especially in the lowest register, but von Otter’s innate musicality more than compensates for that. Her choice of conductor Mortensen and his band was an excellent one; Concerto Copenhagen is yet another outstanding period-instruments ensemble. Overall, this is a rewarding disc, but one that falls a little short of essential. ---arkivmusic.com

It was with Bach that Anne Sofie von Otter made her very first solo appearances when she performed the alto arias in the St. John Passion in Stockholm. But by then, as she has explained, the experience gained as a chorister in the Stockholm Bach Choir had already had a fundamental and enduring influence on her approach to the composer. "The conductor of the Bach Choir at that time was very dynamic: he was on fire for this music, and I became on fire for it as well. Then Nikolaus Harnoncourt came up to conduct the Bach motets, and that was also a marvellous experience. Harnoncourt was revolutionizing the performance of Baroque and Viennese Clas¬sical works - spring-cleaning tempos and phrasing and using original instruments to shed the old woolly sounds of a Romantic orchestra and make the music vibrant again. It was an exciting time for young people like me who gathered around the gramophone and listened eagerly to his new recordings of Monteverdi, Bach and Mozart. Harnoncourt really was my main influence in Bach."

"In the first ten years of my career I sang a lot of Bach," the singer adds, "but after that I purposely put his music and oratorio aside, because there was so much else to explore, especially opera. So this disc is like coming back full circle." Her concept for the recording and the repertoire she has chosen for it date back to the autumn of 2007. "I borrowed discs of every single Bach cantata, listened to them all, and made notes. It was wonderful to discover new arias, but rather than have a solo vocal recital I decided to break it up with purely instrumental movements. I'd known Lars Ulrik Mortensen for a long time, though we hadn't seen a lot of each other recently, and suddenly this name `Concerto Copenhagen' appeared on the horizon; I heard them on the radio, and I thought: `What a wonderful ensemble!' Sure enough, Lars Ulrik was the leader of this great ensemble, so when the idea of the Bach recording came up I thought: `Why don't I ask Concerto Copenhagen?' I cut down the original list, Lars Ulrik added new ideas, and we had a fantastic time making this recording." As for instrumentation: "Bach often puts the alto voice together with the oboe, so that choice was given, and the sound of the Baroque oboe is one I love."

There is a strong showing in the programme of works from the latter part of the young Bach's years in Weimar, from 1714, when he composed Widerstehe doch der Sünde BWV 54, for alto, strings and continuo, and the more elaborately scored Weinen, Klagen, Sorgen, Zagen BWV 12, with its plangent Sinfonia. After his subsequent spell at the court of the music-loving prince of Anhalt-Cöthen, where most of his secular orchestral works were written, Bach returned to composing cantatas when he was appointed Kantor at the Thomaskirche in Leipzig in 1723. At the end of May he began the production of what would, in a relatively short time, turn out to be a staggering quantity of work for the Lutheran liturgical year - some 300 sacred cantatas for Leipzig in five annual cycles, not to mention the great Passions and oratorios. For Christmas that year he wrote the first version of his Magnificat, originally in E flat major and with four insertions specific to Christmas Day; the pastoral siciliano of the lilting alto and tenor duet "Et misericordia", with its two flutes, is heard here in the more familiar D major version, made toward the end of the decade.

The two sacred works that tower over that period, however, are the St Matthew Passion and the B minor Mass, both represented here. From the St Matthew Passion, first performed on Good Friday 1729, Anne Sofie von Otter sings the profoundly moving aria "Erbarme dich", which occurs at the point in the Easter narrative when Peter has fulfilled Christ's prediction that he will deny him three times before the cock crows, and follows the words "And he went out, and wept bitterly." The B minor Mass was initiated in 1733 with the Kyrie and Gloria and expanded with music composed both previously and later before reaching its final form at the end of the 1740s. The great alto aria "Agnus Dei" was written in 1735.

Historical considerations aside, for von Otter the music remains the starting point, and then the way it relates to the text. Bach poses specific problems for any singer: "Bach is tricky as far as breathing is concerned. There are these wonderful lines, and you want not to breathe so as not to break them up. But more and more the text has increased in meaning for me. Bach really does something with the words, and I enjoy using the text, getting it across. It's not by chance that Bach will really squeeze everything he can out of certain vowels or consonants - this symbolism is something I learned about in the Bach Choir. One has to paint the picture in Bach's mind with one's voice. `Erbarme dich', for instance, has great sadness, in the pleading of the minor sixths, while in `Widerstehe doch der Sünde' we decided on a particular approach to convey the image of the poison in the text."

"I dived into this project with great excitement. Lars Ulrik really has what I always like in a conductor, particularly in a Baroque conductor: very clear ideas and a lot of energy. He leads from the organ, so he's part of the music-making himself in a very active way. It was a creative collaboration, and the time was spent with great love." ---Kenneth Chalmers.

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