Three other great recordings

Felicity Lott (soprano) and Angelika Kirchschlager (mezzo-soprano) Recordings which are less precious about the cycle, and with more awareness of how Schumann expected his music to be performed, will appeal to a nonpurist. No one surpasses Graham Johnson, whose consummate gift as pianist and programmer builds depth, space and reflection into the work. Here, he interleaves wordless performances of the songs into a long journey exploring the life and loves of a more three-dimensional woman than Chamisso’s cardboard cut-out. Kirchschlager and Lott sing with artistry, passion and playfulness. (Hyperion CDA67563)

Edith Mathis (soprano) Known for her superb Mozart singing, Mathis’s technically superb soprano sound is a delight, virtuosically modulated throughout yet never cold. Her shaping of the vocal lines is exquisite. The extrovert songs, such as Nos 2 and 5, are especially pleasing, bright with energy without losing grace. Christoph Eschenbach generally keeps the piano quite restrained while Mathis sings, but beautifully matches her sweet,

extrovert sound. The overall effect is polished and aristocratic, but still effective. (DG 479 8337)

Lorraine Hunt Lieberson (mezzo) Hunt Lieberson’s gloriously sincere performance coupled with Julius Drake’s responsive, vivid playing makes for a first-class account, without the borderline matronly tones of, say, Brigitte Fassbaender or Elena Gerhardt, wonderful though they are. Hunt Lieberson responds to every word, but binds the whole with her creamy legato sound, ranging from fullblooded utterance to a near whisper. Drake tenderly brings out oftenoverlooked inner voices in the piano, acting as the protagonist’s companion and consolation throughout. A devastatingly moving performance. (Wigmore Hall Live WHLIVE0024)

And one to avoid…

Christa Ludwig is blessed with one of the most beautiful voices for this repertoire, yet here she sounds strangely robotic in the slow songs (‘Du Ring an meinem Finger’ sounds uninterested), and rather aggressive in the fast ones. Though polished, in comparison with her sublime performances of Mahler and Brahms this 1976 performance with Gerald Moore lacks heart.