Recital (1995)

Contralto Nathalie Stutzmann has an extraordinary range beautifully suited to these Schumann song cycles, which are among the composer's less frequently performed works. Stutzmann's sound suggests a variety of adjectives; it's warm and loamy, with a sensual sultriness, but at the same time it's full of dignity and an almost regal poise. The combination of passion and chaste yearning is ideal for the 26 songs of Myrthen, which Schumann wrote for Clara in anticipation of their marriage, as well as the settings of translations ... Read More

Contralto Nathalie Stutzmann has an extraordinary range beautifully suited to these Schumann song cycles, which are among the composer's less frequently performed works. Stutzmann's sound suggests a variety of adjectives; it's warm and loamy, with a sensual sultriness, but at the same time it's full of dignity and an almost regal poise. The combination of passion and chaste yearning is ideal for the 26 songs of Myrthen, which Schumann wrote for Clara in anticipation of their marriage, as well as the settings of translations of five poems by Mary Stuart. The evenness of tone of which Stutzmann is capable extends from the astonishingly solid depths of the bass staff to a full, bright, ringing top. Besides having an extraordinary instrument, she brings intelligence, musicality, and deep feeling to the songs. The fact that Stutzmann is not a native German speaker is betrayed by the occasional explosiveness of some closing consonants, but that seems a small matter given the strength and sensitivity of her... Read Less