Anne Sofie von Otter; "FRAUENLIEBE UND -LEBEN"; Robert Schumann
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- Опубликовано: 7 окт 2022
- This channel is the re-establishment of previous channels that have been sadly terminated.
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Anne Sofie von Otter--mezzo-soprano
Bengt Forsberg--piano
1995
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"Anne Sofie von Otter (born 9 May 1955) is a Swedish mezzo-soprano. Her repertoire encompasses lieder, operas, oratorios and also rock and pop songs.
Von Otter was born in Stockholm, Sweden. Her father was Göran von Otter, a Swedish diplomat in Berlin during World War II.[1] She grew up in Bonn, London and Stockholm. She studied in Stockholm and at the Guildhall School of Music and Drama in London, where her teachers included Vera Rózsa.[2] In 1982, she won second prize in the ARD International Music Competition.
From 1983 to 1985, she was an ensemble member of the Basel Opera, where she made her professional operatic début as Alcina in Haydn's Orlando paladino. She made her Royal Opera House, Covent Garden, début in 1985 and her La Scala debut in 1987. Her Metropolitan Opera début was in December 1988 as Cherubino in The Marriage of Figaro.[3]
Career
Her recording of Grieg songs won the 1993 Gramophone Record of the Year, the first time in the award's history that it had gone to a song recording. In 2001, she released her album with Elvis Costello, For the Stars,[4] for which she won an Edison Award. She was awarded the Grammy Award for Best Classical Vocal Solo in 2015 for her album of French songs, Douce France. She is a regular recital and recording partner with Swedish pianist Bengt Forsberg.[5][6][7]
In 2006, von Otter sang the Evangelist in the premiere of Sven-David Sandström's Ordet - en passion. Other work in contemporary music has included singing the role of The Woman in Senza Sangue of Péter Eötvös.[8] In other media, she appeared in the film A Late Quartet.[9]
In 2007, she released an album of music written by composers imprisoned in the Nazi ghetto of Theresienstadt concentration camp (also known as Terezin) prior to their transportation to the death camp of Auschwitz. She collaborated on this project with Christian Gerhaher (baritone) and chamber musicians. She has stated that the material has special personal meaning for her as her father had attempted unsuccessfully during the war to spread information that he had received from SS officer Kurt Gerstein about the Nazi death camps.[10]
In 2016, von Otter sang Leonora in the world premiere of Thomas Adès' The Exterminating Angel, and again in 2017 at the Royal Opera House, Covent Garden. She created the principal role of Charlotte in Sebastian Fagerlund's 2017 opera Autumn Sonata, based on the 1979 film by Ingmar Bergman at the Finnish National Opera in Helsinki conducted by John Storgårds.[11]
Family life
Von Otter was married to Benny Fredriksson until his suicide on 17 March 2018.[12][13] He was an actor and managing director of The Stockholm House of Culture, including the Stadsteater (Stockholm City Theatre). The couple had two children. She lives in the capital Stockholm.[2]"; Wikipedia
This voice and the piano, this interpretation, that's the Lied, its magic!
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Still my favorite interpretation of this song cycle. 💖🎶💖🎶💖🎶💖🎶
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Frauenliebe und -leben Op. 42 (Robert Schumann, 1840)
00:00 1. Seit ich ihn gesehen
02:22 2. Er, der Herrlichste von allen
05:23 3. Ich kann’s nicht fassen, nicht glauben
07:15 4. Du Ring an meinem Finger
10:02 5. Helft mir, ihr Schwestern
11:53 6. Süsser Freund, du blickest
16:50 7. An meinem Herzen, an meiner Brust
18:08 8. Nun hast du mir den ersten Schmerz getan
Anne Sofie von Otter is wonderful and does justice to the beauty of the music of Great Robert Schumann. Together with Bernarda Fink, both born in 1955, they relive the great time of Janet Baker and Christa Ludwig (at least for me, for some reason. OC here we are talking of the highest standards of lieder singing mentioning these four wonderful ladies! ❤❤❤❤)
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This song cycle can, at times, sound mawkish. That comes, in my opinion, from the fact that some performers tend to sing it (for the sake of cohesion?) with similar pathos and gravity throughout, which I think is an error, its essence being more miscellaneous. Von Otter's rendition, however, is full of that versatile, subtle intelligence this masterwork demands, and, where others use poignancy and weight as cementing, she uses dynamics and poise.
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