While I Dream
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CD Details
Composer: Franz LisztComposer: Robert Schumann
Performer: Antonio Pappano
Performer: Barbara Bonney
Edition: Music CD
CD Release Date: 2002-02-05
Music Label: Decca
Soundtracks:
- No. 1, "Im wunderschonen Monat Mai"
- No. 2, "Aus meinen Tranen spriessen"
- No. 3, "Die Rose, die Lilie, die Taube"
- No. 4, "Wenn ich in deine Augen seh'"
- No. 5, "Ich will meine Seele tauchen"
- No. 6, "Im Rhein, im heiligen Strome"
- No. 7, "Ich grolle nicht"
- No. 8, Und wussten's die Blumen, die kleinen"
- No. 9, "Das ist ein Floten und Geigen"
- No. 10, "Hor' ich das Liedchen klingen"
- No. 11, "Ein Jungling liebt ein Madchen"
- No. 12, "Am leuchtenden Sommermorgen"
- No. 13, "Ich hab' im Traum geweinet"
- No. 14, "Allnachtlich im Traume seh' ich dich"
- No. 15, "Aus alten Marchen winkt es hervor"
- No. 16, "Die alten, bosen Lieder"
Music reviews of While I Dream
Music Review: A dream of delight - Barbara Bonney takes on Dichterliebe
Rating: 5 Stars
Given that the Dichterliebe were intended for a male voice, we could rail against the transposition enabling a soprano voice to sing them. But transposition of music is so frequently done that it's not really the big no-no that many believe it to be. I'll add a caveat - to transpose an opera aria within an opera is indeed something that should not be done. A role is written for a particular type of voice in context, and its musical challenges are written for a particular type of voice in context. To distort this is to distort the composer's intentions. (Imagine, for instance, a contralto "Der Hoelle Rache" - Queen of the Night!)
But to transpose Lieder is indubitably done many times, and was done during the time of the composers. Granted, I believe that the composer's best intention for this cycle is achieved when a male voice sings it, but certainly hearing a soprano tackle it is exciting and different... and strangely attractive.
I loved the WAY in which Barbara Bonney approached this music. She is a sensitive and intelligent singer, and it shows in her performances. The voice itself is simply glorious, and it flows into the phrases and words like water from the heart of a stream.
There's nothing but praise for the Liszt songs on this album. From the exquisitely detailed "Oh quand je dors!" onwards, the listener knows he/she is going to hear delight after delight. This is the sort of repertoire that Barbara Bonney makes her own, and it's why she is one of the few sopranos today who can be called a genuine Lieder singer. Artsong singing is not as easy as it seems... It requires an ability to shine and capture the intrinsic heart of a song in miniature rather than on a grand scale.
This is a gem of an album.
Description of While I Dream
Schumann's Dichterliebe cycle, set to poems of Heinrich Heine, describes the course of an ill-fated love from the perspective of the jilted male lover. Barbara Bonney stakes out her claim to this territory by affirming her right to break old boundaries, interpreting the songs as the woman's retelling of her old lover's painful tale. That leads to interpretive decisions such as draining the edgy anger from "Ich grolle nicht," singing it as "an introverted, self-deprecating love song." In context, this approach works thanks to Bonney's sensitive phrasing and lovely voice, though there's no getting around the ultimate distortion of the composer's intent or the continued superiority of male singers in this cycle. No such objections apply in some of the non-gender-specific songs, like "Im wundersch&oouml;nen Monat May," in which the poet sings of the blossoming of buds on trees and love in his heart. Bonney captures the verdant feeling beautifully and even in "Ich grolle nicht," where a barking baritone makes more sense of the meaning, her approach convinces while you're listening. The Liszt songs are nicely done as well. She sings them with great inwardness, paying attention to the verbal nuances but never at the expense of the musical line. Pappano's accompaniments are admirable. A fascinating and different recital. --Dan DavisGeneral CDs
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