Dorothea Röschmann & Roger Vig­noles

The Scotsman - - Festival Reviews - CAROL MAIN

Queen’s Hall

All too of­ten, re­views of voice and pi­ano recitals rel­e­gate the ac­com­pa­nist to a place in the shadow of the name at the top of the bill. In an at­tempt to re­dress the bal­ance, pi­anist Roger Vig­noles is get­ting first men­tion here. A doyen in the art of ac­com­pa­ny­ing the hu­man voice, Vig­noles was with so­prano Dorothea Röschmann ev­ery step of the way at their Queen’s Hall morn­ing con­cert yes­ter­day.

Even, al­most im­per­cep­ti­bly, silently singing the arch­ing phrases of Schu­bert, Schu­mann and Wolf along with her, the light, shade and pic­to­rial com­mu­ni­ca­tion that he brought to the per­for­mance was ex­tra­or­di­nary.

In their close part­ner­ship, Röschmann was also a pow­er­ful com­mu­ni­ca­tor of the 19th-cen­tury set­tings of Ger­man texts of love, loss, joy and pain.

It would be un­fit­ting to com­pare and con­trast Schu­bert and Wolf ’s ver­sions of the same po­ems by Goethe, but it was the lat­ter com­poser’s with which Röschmann ap­peared to be more at home.

Singing with a deep sense of con­vic­tion, her pol­ished tech­nique al­lowed quick changes of colour to con­vey the mean­ing of the texts with clear, de­lib­er­ate enun­ci­a­tion. Wolf ’s re­flec­tive Ver­bor­gen­heit was par­tic­u­larly mem­o­rable, as was the struc­tural whole­ness of Schu­mann’s song-cy­cle Frauen­liebe und -leben.

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