It’s always reassuring to be reminded that the most fundamental of human arts hasn’t been entirely abandoned to a squelching fate, squirming in the clutches of today’s pop, rock, and rap–or in the hands of former, suddenly culcha’d rock stars or Broadway tunesmiths who long for opera cred. The lovely, light-voiced, Barbara Bonney, who knows the ways of lyricism, nuance, and the long, shapely line brings her intelligence and seemingly effortless technique (that is, you don’t notice it) to these rarely heard but profoundly appealing “Nordic” songs (all of which she sings in their original language). Grieg can be merely crafty and clever, shamelessly schmaltzy, or unequivocally exquisite. Examples of all of these appear on this program; however, in the latter category are “En svane” (A Swan, from Op. 25) and “Die verschwiegene Nachtigall (The nightingale’s not telling)–and any of the other five songs that make up the Op. 48 set. If you’ve never heard these pieces, or if it’s been a while since you listened to them, they’re well worth a lingering visit.
The Sibelius songs mostly prove that his true genius was in symphonic writing, but “Säv, säv, susa” (Sigh, rushes, sigh) is a gem–a marvelous bit of Sibelian impressionism that effectively tells a story and paints a scene, all in the space of two and a half minutes. Stenhammar’s style seems a bit quaint and labored, his accompaniments not very interesting. The two Alfvén songs are sweetly tuneful and Romantic, and Sjöberg’s “Tonerna” is a heartfelt homage to music itself. The real praise must go to Bonney, for even with the less sophisticated material, she lends eloquence without ever overstating the songs’ inherent art-worthiness. She is an outstanding artist whose success here is ably abetted by her very musical, scrupulously attentive accompanist, Antonio Pappano. [1/21/2000]
