Although only in his mid-30s, Welsh bass/baritone Bryn Terfel already has made a huge career for himself–and thank heaven, he’s the real thing. He seems to sing everything–because he can, and he has the intelligence, musical artistic sense, and a rare vocal instrument that enable him to keep whatever he’s singing–opera, lieder, folksong, show tunes–in its place. There are several recordings of Schumann’s Op. 39 Liederkreis (texts by Eichendorff), and if this one isn’t the best, it’s probably the most original in interpretation. The disc also is of special interest because it includes several selections from sets of Romanzen und Balladen as well as excerpts from the Op. 74 Spanisches Liederspiel, Op. 117 Husarenlieder, and Op. 25 Myrten.
Terfel seems most in command of the subtle beauties inherent in the more highly romantic songs. The more dramatic songs tend to be overwrought–these aren’t opera arias after all–with phrasing and inflection that feels less than comfortable. But some of this is the fault of the writing. Schumann was not immune from the occasional mundane, functional melody, especially when the topic wasn’t something to do with love. Terfel really finds his voice, so to speak (as did Schumann), in the Op. 39 Liederkreis cycle. The composer’s self-described “most romantic music ever” finds a truly perfect, sympathetic spirit in Terfel. Some will complain that, especially in the famous “Mondnacht” and in “Auf einer Burg”, the singer takes far too much liberty with tempo, dynamics, phrasing–you name it. This is Terfel at his most “romantically” indulgent, charming his listeners with some of the most beguiling soft singing they’ll ever hear.
At times, however, Terfel almost loses a song’s emotional and temporal momentum in favor of pressing perhaps one interpretive button too many. But then you hear his rendition of “Wehmut”, so passionate and tender without an ounce of excess emotion, and you’re left in stunned silence. You stop the disc right there because you can’t imagine anything more beautiful at that moment. Terfel’s long-time accompanist Malcolm Martineau shares every expressive step and gives the kind of confident, flawless support every singer hopes for. The sound is warm and resonant, very complementary to the voice yet lacking the most natural piano treble.
