Works by Schubert, Mahler, Schumann and Wagner. Soprano: Dorothea Röschmann. Piano: Malcolm Martineau. Theater of the Zarzuela. Madrid, 25-II-2019.
The beginning of 2019 is giving us more than one surprise, musically. The rooms look much fuller. It seems as if the fans had played the lottery or new entrants had been added. It has happened in the Ibermúsica, Scherzo … and now also in the lied cycles. Dorothea Röschmann is not a well-known singer, although it is the third time she attends this cycle, the last one almost ten years ago. More recently, in 2014, he was singing the "Four Last Lieder" of Strauss at the Palau de les Arts with Zubin Mehta. What memories! Mehta wanted Anja Harteros, but Helga Schmidt refused because of her high cache and the many cancellation possibilities. Mehta, who had already been denied other things for lack of budget and even changed rooms in the hotel in Las Arenas, decided that Valencia did not give more than himself. But let's get to business. The name of Dorothea Röschmann did not provide public, but the attractive program, with some of the best vocal pages of Schubert, Mahler, Schumann and Wagner, and the expert and always subtle accompaniment of Malcolm Martineau. There were two reasons enough to go and see what would happen. The public, who filled the Zarzuela, received it with logical lukewarmness. He began to sing four of the lieder "Mignon" by Schubert and the atmosphere warmed up after "Only who knows the longing". Then Mahler and his "Ruckert lieder", with a large exhibition of "At midnight" and no less good coronation with "I have withdrawn from the world." The coldness transformed into heat. The public had discovered what it is to sing with pleasure, with sense and sensibility, with intelligence and musicality, although the voice was not that of yesteryear and never was an exceptional voice. Just the opposite in all of Bryn Terfel's recital at the Teatro Real. The afternoon was even more in the five pieces that Schumann dedicated to Maria Stuarda – do not fail to see the film on the poster "Mary, Queen of Scotland" – in which she translated the misadventures of the queen from her farewell to France the final prayer. They must be one of his favorites, when he played them on his last visit. Röschmann gave meaning to each phrase, even if they could put some buts in some phonetics. He ended up translating well the atmosphere of the «Wesendonck lieder», although his drama and centrality were accused in the vibrato when wanting to put all the meat in the spit. The audience was enthusiastic and expressed it with elegant and conclusive cheers. So much that even she could not believe it, because her face of surprise proved it. The spark had gone off in a recital that, on paper, was no more than filling in the cycle.