ベートーヴェン: 遥かなる恋人に/シューベルト: 白鳥の歌

イギリスの名テノール、マーク・パドモアと、世界的ピアニスト、内田光子による歌曲アルバム。

2017年、第59回グラミー賞にてドロテア・レシュマンとともにアルバム『シューマン:リーダークライス、女の愛と生涯/ベルク:初期の7つの歌』(UCCS-50219)で最優秀クラシック・ヴォーカル・アルバム(ソロ)賞を受賞したピアニスト、内田光子の最新アルバム。
今作は、テノール歌手マーク・パドモアとのリサイタルプログラムで演奏が予定されている2つの歌曲、ベートーヴェンの《遥かなる恋人に》とシューベルトの《白鳥の歌》を収録。
ユニバーサル・ミュージック/IMS

This release by tenor Mark Padmore and pianist Mitsuko Uchida, Schubert specialists both, came with strong recital buzz on both sides of the Atlantic and landed on classical best-seller charts in early 2023. This recording was made at Wigmore Hall in London. It is Schuberts not-quite-cycle Schwanengesang (it was assembled into a set after Schuberts death) that gets top billing in the graphics, but the album opens with Beethovens An die ferne Geliebte, Op. 98, the first true song cycle, shown on the cover in small print. The piano part in Beethovens songs had an unprecedentedly major role in the proceedings, and the placement of the set at the beginning may serve to advise the listener of the unusual emphasis on Uchidas piano in the main Schubert attraction as well. Sample Standchen, the most famous song in the set, or Abschied for a taste of the lively, spritely quality that is Uchidas alone. The piano-driven effect is heightened by the engineering, which puts Padmores voice somewhat into the background, and it is not at all clear that this needed to be done. Padmore remains, however, a terrific Schubert interpreter. His voice is a bit thin in its middle register by now, but his ability to extract fine shades of meaning through slight alterations of tempo is unmatched. In general, this is a fine Schubert recording that lives up to the hype, and it is especially recommended to Uchida fans; they will discover a new facet of her talent. ~ James Manheim