Composer: Janet Baker
Works: Chausson: Poème de l’amour et de la mer, Berlioz: Les nuits d’été, Schoenberg: Song of the Wood Dove (from Gurrelieder)
Performers: Janet Baker (mezzo-soprano), Svetlanov/LSO, Giulini/LPO, Del Mar/LSO
Recording: Live at the Royal Festival Hall, 1963/75
Label: BBC Legends Series BBCL 4077-2 [75.15]
Janet Baker’s artistry in the realm of French music has long been celebrated, and this collection exemplifies her exceptional affinity for the repertoire. The works featured—Chausson’s Poème de l’amour et de la mer, Berlioz’s Les nuits d’été, and Schoenberg’s Song of the Wood Dove—reflect a rich tapestry of emotional depth and dramatic flair. Each piece, while distinct in character, bears the imprint of the late Romantic and early modern sensibilities that shaped their respective composers. The historical context in which these works were crafted—a period marked by a complex interplay of nationalism, lyricism, and avant-garde experimentation—provides a profound backdrop against which Baker’s interpretations resonate.
Baker’s performance of Chausson’s Poème de l’amour et de la mer is particularly noteworthy for its exquisite control and nuanced expressiveness. Svetlanov’s conducting elicits a lush orchestral palette, one that complements Baker’s voice without overshadowing it. The lyrical lines flow seamlessly, and her floating pianissimo in moments like the haunting conclusion of “Le spectre de la rose” is nothing short of mesmerizing. The careful balance achieved by Svetlanov allows the delicate textures of the orchestration to emerge, highlighting the neo-Wagnerian elements inherent in Chausson’s writing. Notably, Baker’s ability to convey the emotional arc of the piece—from yearning to ecstasy—is indicative of her deep understanding of the text, enhanced by her flawless French diction.
Turning to Berlioz, Baker’s interpretation of Les nuits d’été showcases her remarkable capacity for long-breathed phrases. Giulini’s direction is masterful; he lingers on pivotal moments, allowing the lush orchestral colors—especially the exquisite wind chords in “Absence”—to bloom. Here, Baker navigates the demanding vocal lines with a combination of strength and sensitivity, particularly in the lyrical “L’Invitation au voyage,” where her tone glows with a warmth that evokes the poem’s themes of longing and nostalgia. The recording quality captures the nuances of both voice and orchestra exceptionally well, providing a vivid aural experience that does justice to the live performance setting.
Schoenberg’s Song of the Wood Dove, a remarkable departure from the preceding works, reflects a different kind of intensity. Recorded in 1963 under the insightful direction of Norman Del Mar, this piece often intimidates listeners due to preconceptions about Schoenberg’s compositional style. However, Baker’s interpretation reveals the underlying Wagnerian drama that pervades the music. She meets the demands of the score with a compelling assurance, exploring the extremes of her vocal range. The absence of applause until the end respects the somber atmosphere established through the preceding works, allowing the listener to remain enraptured by the transcendental quality of the performance.
This collection stands as an essential testament to Janet Baker’s artistry, showcasing her as a consummate interpreter of both French and German repertoire. The recordings testify to the profound connection between singer and orchestra, facilitated by conductors who understand the delicate interplay of text and music. With its rich sound quality and the depth of feeling conveyed throughout, this release is not merely a historical document but a living legacy of one of the great mezzo-sopranos of the 20th century. A compelling addition to any serious collection, it is both an homage to Baker’s unparalleled talent and a reminder of the enduring power of these masterworks.
