Although there have been relatively few recordings devoted to the songs of Edvard Grieg, listeners looking for exemplary performances of the more celebrated songs and song sets (and even of many lesser-known works) will easily be satisfied. In fact, the only reason this first-rate recital from Swedish mezzo Katarina Karnéus isn’t among the reference versions is because mezzo Anne Sofie von Otter’s 1992 DG recording (which includes many of these same songs) is just that much better in interpretive nuance and vocal/technical proficiency and execution. Similarly, Swedish baritone Håkan Hagegård and accompanist extraordinaire Warren Jones offer gorgeously sung, irresistibly engaging accounts, even if their outstanding and essential two-disc set (also from 1992 but apparently and unfortunately out-of-print for now) covers repertoire that only partially overlaps with Karnéus’ program.
At first, I thought Karnéus’ voice too heavy and her technique too labored to properly exploit the heart and soul of Grieg’s songs, a sort of lyrical emotionalism that depends on a finely wrought expressive style, instantly ruined if overworked. But the more I listened the more I appreciated Karnéus’ rich timbre, full-bodied sound, and her dramatic flair, her emotional involvement born of a clear understanding of every word she sings, even if her technique lacks the very finest, subtle shades of color so thrillingly exhibited by Otter and by Barbara Bonney on her Nordic song compilation (Decca) that includes a few of the pieces on this program.
Although I still prefer Otter’s exhilarating build to a climax in Ein Traum and her exquisitely sensitive, nuanced renditions of En svane and Die verschwiegene Nachtigall (along with other innumerable expressive felicities)–not to mention hers and Hagegård’s “romance endures!” readings of Jeg elsker Dig (better known to every student who has ever crossed the threshold of a voice studio as “I love thee”)–I have to admit that after three hearings of Karnéus’ recital, I’m hooked on her robust, deeply-felt interpretations of these songs that (along with those of Clara Schumann) deserve renewed attention and respect by today’s recitalists and recording companies. There can be no question about quality here: Grieg’s songs are as substantial and important (and beautiful!) as those by any other major contributor to the genre–if the Op. 67 set Haugtussa (the Mountain Maid) doesn’t convince you, nothing will. We simply need to get to know this music better, and thanks to Karnéus’ generously filled recital, we now have another first-rate avenue to help us get there. Highly recommended!
