Dorothea Röschmann & Roger Vignoles
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.