This new set of the “Wunderhorn” songs, played on period instruments, includes the “Urlicht” movement from the composer’s Second symphony and the final movement of the Fourth. As stunningly and interestingly orchestrated as any symphony Mahler ever wrote, these songs nonetheless are miniatures based on folk-like themes, and Herreweghe is careful to present each as a world unto itself, a story to be told. The lack of weight in the instruments helps; he never overstates the music’s case. The nearly 80-piece orchestra can get the volume up without overwhelming the singers or text, and no exaggerated winks or nudges are needed from baritone or mezzo (which doesn’t mean that baritone Dietrich Henschel isn’t immune from such tics anyway).
Some singers find it necessary to bray maniacally like a donkey in “Lob des hohen Verstands”, yet Herreweghe’s refined band and transparent leadership make it unnecessary. The soft, tender moments are sweeter with gut strings, with the relative crudeness of the horns standing out in nice relief–and the oboe in St. Anthony’s song is spicy. If I had to characterize this interpretation with one word, I’d choose “fresh”.
Vocally, mezzo Sarah Connolly is ideal; the easily produced voice, superb and famous in Handel, serves her equally well in Mahler. She knows how to lean into a note to prove a playful point, as in “Verlor’ne Müh”, and her reading of “Das irdische Leben” is searing. Henschel is more knotty. He sounds somewhat like Fischer-Dieskau, and indeed tends to underline points like the older baritone–but without the necessary technique. The effect is of bullying both music and text. Furthermore, he wanders from pitch at some moment or another in almost every song. However, I do like the way he drops all vibrato from his voice at moments in “Wo die schoenen Trompeten blasen”. The verdict? This is remarkable for the intelligent, correctly-sized-and-paced leadership of Herreweghe, and Connolly is a wonderful singer, but Henschel really needs to go back to school.
