Tuesday, January 28, 2014

Goerne and Eschenbach play Schubert

After kicking myself for two (?) years for having missed the Matthias Goerne/Christoph Eschenbach Winterreise in favor of choir rehearsal or some other garbage, this evening's rendition of Die Schone Mullerin offered some long-awaited relief. My only live experiences with Goerne thus far have been in the context of large scale symphony concerts. While no doubt rewarding given his always thoughtful singing, these outings have generally been marred by a pushy-shouty edge that just doesn't jibe with that molten voice one knows and loves from his recordings.

Rest assured, nothing of the sort was at issue in the Terrace Theater tonight. Goerne in Schubert, live, in an intimate space, is pure lieder-magic. That special velvety voice surprises again and again with its sound, but its never beauty for the sake of beauty. Goerne delivers these songs with a staggeringly complete level of emotional detail, each coming alive with such varied and specific feeling that the hour plus of music feels like it passes in 20 minutes. What's more, he digs deep into Schubert's complicated psychological portrayal, bringing out the miller's melancholy and passion, but his simmering resentment toward the object of his affection, too. Schubert draws an uncanny portrait of the wrathful "nice guy" that is all too familiar to internet users of today, and Goerne evokes this with disturbing clarity.

There will be some griping about Eschenbach as partner, as his contribution isn't that CD-quality smoothness we expect from recital pianists. He smudges stuff here and there, and some of the more challenging passages teeter dangerously close to breakdown. But I'd take what a lesser-rehearsed Eschenbach serves over the alternative every time. Together, he and Goerne deliver a level of emotional and dramatic consistency between voice and piano that one rarely gets to hear in recitals where the pianist is focused on being the dutiful accompanist. There was a vivid quality to this reading where we usually get one dimension, and that is due to Eschenbach's great musical intelligence and his constant search for those truthful moments that bring us closer to the emotional core of the piece.