Composer: Franz Schubert
Works: Die Winterreise
Performers: Brigitte Fassbaender, mezzo-soprano; Aribert Reimann, piano
Recording: Studio no.1 Abbey Road, London, October 1988
Label: EMI Classics
Schubert’s “Winterreise” stands as a monumental achievement in the art song repertoire, encapsulating the profound depths of human emotion through its poignant poetry and haunting melodies. Composed in the winter of 1827-28, this song cycle reflects the inner turmoil of its solitary protagonist, a wanderer grappling with despair and unrequited love. The work’s historical context, emerging from the Romantic era’s exploration of individual experience and introspection, lends it a timeless resonance that continues to captivate audiences and performers alike.
Brigitte Fassbaender’s interpretation is a powerful testament to her artistry, delivering a performance that is both intellectually incisive and emotionally charged. At the time of this recording, Fassbaender was at her vocal zenith, employing her formidable presence and interpretative insight to navigate the complexities of Schubert’s score. Her ability to embody the profound pathos of the cycle is particularly evident in “Das Wirtshaus,” where her nuanced phrasing captures the despair of the weary traveler. Similarly, in “Die Nebensonnen,” Fassbaender conveys the gradual ebbing of hope with palpable intensity. The emotional range she brings to the cycle is striking; moments of defiance in “Mut” and “Der stürmische Morgen” are rendered with equal conviction, showcasing her dramatic prowess.
However, the performance is not without its technical challenges. The pronounced breaks between Fassbaender’s vocal registers occasionally disrupt the flow of the music, particularly noticeable in the opening song, “Gute Nacht.” Here, the descent into her lower register feels abrupt, creating a jarring contrast that distracts from the song’s overall lyrical continuity. While such vocal idiosyncrasies may lend a certain character to her interpretation, they also invite scrutiny, especially in the more subdued passages where seamlessness is paramount.
Accompanying Fassbaender, Aribert Reimann’s piano playing exhibits a commendable imagination and sensitivity to the text. His interpretation of “Im Dorfe” is particularly effective, evoking the song’s subterranean rumblings and unexpected hesitations with skillful dynamics. Yet, in “Die Post,” the galloping rhythms prove problematic, as Reimann struggles with the tempo’s demands, leading to a lack of precision that undermines the song’s inherent energy. While he demonstrates moments of brilliance, he does not quite reach the interpretative heights of legendary accompanists such as Gerald Moore or Benjamin Britten, whose collaborations with Fischer-Dieskau and Pears have set a high standard in this repertoire.
The recording quality of this EMI release from Abbey Road is commendable, capturing the intimate nuances of both voice and piano effectively. The engineering presents a well-balanced sound that allows each phrase to resonate with clarity, though the absence of texts and translations may leave some listeners wishing for a more comprehensive engagement with the material.
Fassbaender’s performance in this “Winterreise” is one of notable depth and complexity, providing a compelling interpretation that, despite certain vocal limitations, remains deeply affecting. The synergy between her dramatic instincts and Reimann’s imaginative accompaniment results in a rewarding listening experience. While comparisons to other recordings may highlight its imperfections, the sheer emotional force and artistic commitment evident in this performance ensure it occupies a significant place within the broader tapestry of Schubert’s enduring masterwork.
