I played this release for a professional singer/voice teacher, and every five minutes she remarked “I’d give anything to be able to sing like that.” This was followed by all manner of expert commentary as to why the soprano voice of Juliane Banse is as ideal and desirable an instrument as any singer could hope for and any listener could cherish. Of course, I completely agreed with this assessment–and there’s no question that you will too, as Banse and her acclaimed piano partner András Schiff give these wonderful songs form and life and character that goes far beyond the fundamentals of technique and artful interpretation.
Just go to tracks 13, 14, and 15–two Debussy songs and one by Mozart–and you will hear the essence of this recital, both in terms of Banse’s exceptional expressive facility, warm yet vibrant tone production, and remarkable agility and accuracy of pitch, as well as these composers’ unsurpassed way with texts, melodies, and musical scene-painting. The Mozart song, Das Veilchen, about a violet that gets stepped on, is as perfectly gorgeous and well-crafted as any of this composer’s more celebrated efforts, and Banse conveys its emotional content so effectively that you don’t even have to know the textual details to appreciate its meaning. The vocal technique is so effortless–and thankfully, the top-most pitches are so free of harshness–that we have only to enjoy the music, a luxury that we don’t always attain with many less-assured and less-accomplished singers.
Although Banse exhibits greatest affinity for and proficiency in the Mozart selections–what sensuous legato and scintillating runs and leaps!–her command of the Debussian idiom is profound. She and Schiff have been performing these songs together for years, and their easy partnership shows in the way Schiff accomodates Banse’s near-improvisatory shaping of phrases and treatment of tempos. Happily, the programming of this recital has nothing to do with ECM’s occasional tendencies toward musicologically shaky conceptualizations and repertorial/stylistic juxtapositions (Bach and Webern, Bach and numerological theories, etc.). Rather, this is a revelatory program whose seemingly strange combination of composers and styles–Jacques Drillon’s colorfully pretentious notes to the contrary–simply arises from Banse’s purely musical/artistic desire to bring more attention to Mozart’s under-appreciated song repertoire. It works, and it will stand as one of the year’s best recordings, a study in first-rate singing, captured in exemplary sound. Be prepared to replace your current favorite soprano: Banse is awesome. [4/26/2003]
