Legendary performers’ reunion a mixed success

Anne Sofie von Otter and Angela Hewitt ★★★ (out of 4) Jan. 9, Koerner Hall

There is a matchless intimacy about a recital program of song for voice and piano. And when you set it in one of Canada’s most acoustically detailed concert halls — Koerner Hall — with two legendary performers whose talent precedes them at every turn, you have the recipe for a potentially rousing show.

They strode on stage to a buzzing audience, which had sold out long ago. Toronto was the first stop on Anne Sofie von Otter and Angela Hewitt’s intrepid five-city North American tour of German and French lieder, which ends in Boston on Jan. 23.

The genesis of the concert was prompted after the two performed together in 2012 at the Trasimeno Music Festival in Umbria, Italy. In an effort to explore the success of Trasimeno, they aimed to meet again to see what came of it.

The first half of the program was dedicated to German repertoire with Beethoven, Schubert and Brahms. Playing from a glowing iPad on a Fazioli piano, Ottawa’s most famous musical daughter seemed comfortable behind the energetic von Otter, who danced and swayed through most of the works. Beginning with Beethoven’s relatively minor works for lieder, von Otter’s clarion mezzosoprano voice lived up to her reputation. But seeing such a high-calibre pianist in such an underwhelming accompaniment role seemed a waste of her abilities.

Thankfully there were ample moments for Hewitt to shine. The two standouts were Brahms’ sentimental ‘Intermezzo in E-flat Major, Op. 117,’ No. 1 and Chabrier’s “Bourrée fantasque.” Unfortunately the other solo works by Schubert and Chabrier were lacklustre. There was also a perilous moment in the Idylle from “Dix Pièces pittoresques,” where notes were missed.

Things picked up with a second half that centred on French song from Hahn, Fauré, Debussy, and Chaminade. The shining moment was a performance of Debussy’s “Trois chansons de Bilitis.” With text based on erotic poetry by Pierre Louÿs, von Otter and Hewitt unfolded the plot like a carefully pleated letter reflecting on Bilitis’ life.

In contrast to the opening German works, the two seemed at home with the French material.

There is a very special relationship between a singer and a collaborative pianist, and though the reunion was a mixed success, what came across were two old friends sharing the music they love.