Composer: Janet Baker
Works: Very Best of Janet Baker
Performers: Dame Janet Baker, mezzo-soprano; various artists
Recording: EMI CLASSICS 7243 5 75069 2 2 [2CDs: 79:00+76:04]
Label: EMI
Dame Janet Baker, one of the most revered mezzo-sopranos of the 20th century, offers a remarkable retrospective in “The Very Best of Janet Baker.” This two-disc compilation, spanning a wide range of repertoire from J.S. Bach to Richard Strauss, serves not only as a testament to her extraordinary vocal gifts but also as a celebration of her interpretative depth and artistic integrity. The selection includes well-known masterpieces such as Brahms’ “Alto Rhapsody,” Elgar’s “Sea Pictures,” and Schubert’s exquisite songs, all of which illuminate Baker’s ability to imbue each piece with profound emotional resonance.
The first disc features orchestral settings that showcase Baker’s sumptuous timbre and her capacity for vocal drama. Her rendition of “He was despised” from Handel’s “Messiah” stands out for its poignant expressiveness, capturing the weight of sorrow with a rare clarity of tone. The orchestral support, particularly under the baton of conductors like Boult and Previn, is symbiotic, allowing Baker’s voice to soar while remaining grounded in the overall orchestral texture. The “Alto Rhapsody,” in particular, emerges as a highlight, showcasing her ability to navigate lyrical lines with both power and sensitivity, beautifully complemented by the men of the John Alldis choir.
Transitioning to the second disc, which features piano accompaniments, Baker’s artistry is further illuminated through the intimate nature of the settings. The interpretative choices she makes in Schubert’s “Gretchen am Spinnrade” reveal a deep psychological engagement with the text, reflecting the character’s turmoil through nuanced dynamics and phrasing. Accompanied by Daniel Barenboim in “Mondnacht,” Baker achieves a sublime balance of vocal beauty and lyrical interpretation, creating an ethereal sound world that envelops the listener. The clarity in her articulation of Schumann’s “Du Ring an meinem Finger” demonstrates her technical precision, making each note resonate with emotional depth.
Sound quality on this recording merits commendation, as the engineering captures Baker’s voice with remarkable fidelity, allowing the nuances of her expression to come through vividly. Each track, recorded at various points throughout her career, reflects the evolution of her artistry while maintaining a consistent sonic quality that enhances the listening experience. The judicious selection of repertoire also invites comparison with other notable recordings; for instance, while Baker’s interpretation of Mahler’s “Ich bin der Welt abhanden gekommen” is masterful, her later collaboration with Barbirolli is often cited for its slightly superior sound quality. Nevertheless, her interpretive mastery remains the defining feature, transcending mere technical considerations.
The concluding tracks of the collection, featuring Richard Strauss’s “Befreit” and “Morgen,” encapsulate the essence of Baker’s artistry. These selections not only demonstrate her technical prowess but also her emotional depth, particularly in “Befreit,” where the poignant text and music converge to create an experience that is both cathartic and deeply moving. Baker’s ability to convey complex emotions through her voice remains unparalleled, and these final pieces serve as a fitting tribute to her illustrious career.
This collection is a comprehensive and enlightening homage to Dame Janet Baker’s legacy. It showcases not only her vocal abilities but also her unique interpretative insights that have left an indelible mark on the world of classical music. As a reflection of her artistry, “The Very Best of Janet Baker” stands as an essential listening experience, affirming her status as one of the great vocal artists of her time.
