Composer: Franz Schubert
Works: Deutsche Schubert-Lied-Edition, Vol. 8; Schiller-Lieder Vol.2: Die Bürgschaft, D246; Hektors Abschied, D312; Amalia (from: Die Räuber), D195; Gruppe aus dem Tartarus (2nd version), D583; Sehnsucht (1st version), D52; Sehnsucht (2nd version), D636; Der Pilgrim, D794; Ritter Toggenburg, D397; Des Mädchens Klage (2nd version), D191; Das Mädchen aus der Fremde (2nd version), D252; An Emma, D113; Die vier Weltalter, D391; Die Hoffnung (1st version), D251; Die Hoffnung (2nd version), D637
Performers: Regina Jakobi (mezzo-soprano), Ulrich Eisenlohr (piano)
Recording: Studio 2, Bavarian Radio, Munich, Germany, 23rd-27th October 2000
Label: Naxos
Franz Schubert’s settings of Friedrich Schiller’s poetry occupy a nuanced and somewhat underappreciated corner of the Lieder repertoire, a contrast to his more celebrated settings of Goethe. Schubert composed these songs between 1813 and 1823, a period rich with lyrical exploration and emotional depth. This second volume of the “Schiller-Lieder” series from Naxos presents fourteen of these settings, which, while not as frequently performed, reveal the complexity of Schubert’s musical language and his engagement with the high literary aspirations of Schiller’s texts.
The performance by Regina Jakobi, accompanied by Ulrich Eisenlohr, is marked by a struggle to encapsulate the dramatic and narrative qualities inherent in the texts. Jakobi’s mezzo-soprano voice possesses a rich timbre, yet her execution suffers from a lack of clarity in diction. The opening ballad, “Die Bürgschaft,” is meant to be a dramatic narrative that evokes a vivid character portrayal; however, Jakobi’s slurring of syllables and failure to articulate the text compromises the storytelling aspect. The first recitative, “Die Stadt vom Tyrannen befreien,” requires a compelling narrative drive, which is unfortunately absent in this rendition. Eisenlohr’s piano accompaniment provides a supportive yet understated backdrop, failing to enhance the vocal line’s dramatic potential.
Throughout the disc, there are moments where the interplay between voice and piano could have been more dynamic. For instance, in “Gruppe aus dem Tartarus,” the climactic “Ewigkeit” should erupt with emotional intensity, yet here it is delivered with a lack of urgency that diminishes its impact. Compared to the iconic interpretation by Dietrich Fischer-Dieskau and Benjamin Britten, where every crescendo is meticulously calculated to evoke a visceral response, Jakobi’s reading feels flat and lacks the necessary dramatic arc. The rhythmic integrity of the phrases often collapses under a hurried delivery that obscures the poetic meter and intention.
The recording quality presents a clear sound, but the engineering does not compensate for the interpretative shortcomings. The balance between voice and piano is generally well managed, yet the overall performance feels more like an academic exercise than a passionate interpretation. The informative booklet accompanying the CD, which includes German and English texts along with detailed notes, suggests a significant effort to contextualize the music, yet this intellectual underpinning does not translate into a compelling auditory experience.
The repertoire presented here, while rich in literary and musical significance, suffers from a lack of distinctiveness in interpretation. Each Lied feels interchangeable, devoid of the unique character that Schubert imbued in his settings. Despite the potential for illuminating explorations of themes from Greek antiquity to allegorical reflections, the readings do not resonate with the vibrancy or emotional depth that Schubert’s music demands. The promise of the complete “Schubert-Lieder-Edition” remains tantalizing, yet this volume fails to deliver a memorable contribution to the series.
The cumulative effect of this recording is one of disappointment, as it does not fully engage with the artistic and intellectual demands of Schubert’s settings of Schiller. There is a palpable sense that both the performer and the music are not in sync, leaving a void where interpretative brilliance should reside.
