Franz Schubert (1797-1828)
Lieder
Clara Osowski (mezzo-soprano)
Timothy Lovelace (piano)
rec 2025, Minneapolis, USA
German texts and English translations included
Avie AV2864 [61]

Having read the nauseatingly gushy dedication to this album, presumably written by the singer herself, I fought hard to preserve my objectivity when listening to it with a view to reviewing it fairly – but really, the combination of hyperbole, buzzwords and chumminess – we are on first name terms with the composer and urged to discover “insight into Schubert’s community” – whatever that means – is enough to give me the screaming adjabs.

However, let us be brave, move on and consider this recital as the serious work of art it is clearly intended to be. The nineteen songs here all derive from Schubert’s maturity – i.e., the last thirteen years of his lamentably short life and feature some favourites and some classics – not always, perhaps the same thing, if one fancies oneself a connoisseur. Mezzo-soprano Clara Oswoski seems to have specialised far more in song and choral works than opera and her traversal of these songs is enhanced by the provision of texts and translations.

Let me immediately register some concerns: she has a dark, mellow voice of slightly matronly timbre with a little glottal catch in the tone but the way low notes drop out in terms of volume bothers me. Her vibrato is quite pronounced but generally steady and not objectionably obtrusive; just occasionally, on louder, higher notes, a little pulse starts to nag the ear. I do not find her inflection of words to be especially subtle or insightful, nor is her use of dynamics notably varied.

The problem is this: some great mezzos have tackled these songs: Dame Janet Baker, Christa Ludwig, Brigitte Fassbaender, Jessye Norman in Falcon soprano mode – or go back to Elena Gerhardt and hear how rich are her low notes and individual her utterance. I am sorry if “the burden of the past” weighs heavily on modern singers but my job is to compare, contrast and recommend to prospective purchasers and nothing about this latest anthology from Osowski recommends it over her predecessors. She offers a perfectly pleasant, artfully selected and well-sung programme of no special distinction but if I want to hear a great song such as Nachtstück I will always first turn to Fassbaender’s mesmerising account. Her voice is fuller, more beautiful and characterful which an indefinable quality that goes straight to the heart, and she finds so much more passion in her voicing of the old harpist’s song. To take another example: the celebrated and frequently encountered Der Musensohn;here, it is nicely sung but Janet Baker finds so much more lilt, charm andanimation in it. Timothy Lovelace’s piano accompaniment is fine but perhaps a tad genteel and anonymous.

I stress: there is nothing much wrong with this recital yet I can find no compelling reason to recommend it.

Ralph Moore

Previous review: David James

Contents
Rastlose Liebe D.138
Nachtstück D.672
An die Leier D.737
Der Schiffer D.536
Ganymed D.544
Am See D.746
Wandrers Nachtlied II D.768
Die Sterne D.939
Seligkeit D.433
Bei dir allein D.866/2
Nachtviolen D.752
Ellens Gesang I D.837
Ellens Gesang II D.838
An den Mond D.193
Erlafsee D.586
Der Musensohn D.764
Gondelfahrer D.808
Geheimes D.719
Im Frühling D.882

Buying this recording via the link below generates revenue for MWI, which helps the site remain free