These performances by mezzo-soprano Elina Garanca did not start life intending to be a recording. They were made live on separate occasions in Vienna's Großesfestspielhaus during the coronavirus pandemic in 2020 and 2021, but one of the recording's several strengths is that Wagner's Wesendonck Lieder (in Felix Mottl's orchestrations) and Mahler's Rückert Lieder, respectively sensuous and transcendent, make a lovely pair. So, too, do Garanca and conductor Christian Thielemann, leading the Vienna Philharmonic. Both are ...
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These performances by mezzo-soprano Elina Garanca did not start life intending to be a recording. They were made live on separate occasions in Vienna's Großesfestspielhaus during the coronavirus pandemic in 2020 and 2021, but one of the recording's several strengths is that Wagner's Wesendonck Lieder (in Felix Mottl's orchestrations) and Mahler's Rückert Lieder, respectively sensuous and transcendent, make a lovely pair. So, too, do Garanca and conductor Christian Thielemann, leading the Vienna Philharmonic. Both are careful, detail-oriented, somewhat self-effacing performers, and for the most part, everything is beautifully balanced here. There are a few flaws of the sort one expects from live performances; in the concluding Ich bin der Welt abhanden gekommen, Garanca's low register, already not really her strong point, fades into the background. However, in her mid-range in Wagner's songs, some of which were dry runs for Tristan und Isolde, she has a rich, coppery tone that is worth the price of...
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