Despite the cold that has come upon New York during these past few early days of December, two fulfilling lieder recitals warmed me up this weekend at Carnegie Hall: One by Irish mezzo-soprano Tara Erraught on Friday night and one by German soprano Diana Damrau on Sunday afternoon. Ms. Erraught made her New York Recital Debut on Friday after making her Boston Recital Debut two nights before, while Ms. Damrau took a break from her rehearsals of Bizet’s Les Pêcheurs de Perles at the Met. Each of them gave monumental performances and exemplified fluidity on their respective programs.
Diana Damrau (© Michael Tammaro/ Virgin Classics) and Tara Erraught (© Dario Acosta 2014)
Even the biggest of American opera buffs have difficulty placing the name of Tara Erraught. She simply has not sung a lot in this country. Those Americans who are familiar with her might know her from the live simulcasts provided by the Bayerische Staatsoper and Glyndebourne. She recently gave performances as Sesto alongside Kristine Opolais as Vitellia in a production of La Clemenza di Tito from Munich, and as Octavian in Glyndebourne’s new production of Der Rosenkavalier, directed by Richard Jones, both of which were viewable online worldwide.
The iconic richness of her voice is something that cannot simply be appreciated through computer speakers or even a reputable audio system; Her sound in Weill Recital Hall’s intimate space wrapped itself around the audience like a velvety cape. As a mezzo, her middle and bottom registers were rich, however, even her upper register remained sunny, especially so in the Strauss. Her residency in Munich for the past several years as a member of the Bayerische Staatsoper’s ensemble has evidently helped her in building an appropriate German character for the meaningful songs of Brahms and Strauss. She was just as strong in her inherent inflections of the English texts used by Quilter and Delius. Her assiduous attention to text made for a very devoted, entertaining, and warm performance. Her “Allerseelen” and “Morgen” in particular left me very convinced of her respective messages for each. The playing of Henning Ruhe was attentive and sensitive, especially in the huge, chromatic swells Liszt composed in some of the more stormy repertoire Ms. Erraught performed.
Diana Damrau gave a very similar program, if one subtracted English songs and replaced them with French. After a period of vocal rest, her voice sounded healthier and fuller as she characterized and tore through the lust of Schubert’s and Strauss’ lieder as well as some very comical French works. Her grasp of the German language brought out the true colors of Schubert’s purposeful songs. Her pianissimos were so delicate, especially in her show-stopper (her last encore), “Morgen”. This gorgeous portrayal of Strauss’ sensual prospect of “Tomorrow” was accompanied slowly and dolce by the very sensitive Craig Rutenberg. One could feel the chemistry between the two of them even in the 2800-seat Stern auditorium. Even if the German language is one of her strong suits, the French language draped easily off her tongue in both the Poulenc and Rosenthal. She was absolutely hilarious in the funny, sentimental Chansons du Monsieur Bleu of Manuel Rosenthal. Her versatility truly shined as she showed her mastering of both German and French.
While Diana Damrau is a veteran to the New York stage, Tara Erraught as a newcomer matched her in lingual versatility and sensitivity. Each of their recitals made for a great weekend in New York.