Wolfgang Holzmair and Imogen Cooper presented an all-Wolf programme at this Wigmore Hall recital that displayed the amazing breadth that exists within the output of a composer who, in a sense, we can be forgiven for thinking of as quite limited.
Although it is the case that Wolf is known almost exclusively for his songs, and that all the songs presented in this concert were to texts by Eduard Mörike, the variety therein in terms of colours, textures and modes of expression was staggering. It is a testament to the abilities of the performers that they were able to convince in every single piece, no matter what it entailed.
The partnership between Cooper and Holzmair goes back a long way now, and they have been celebrated the world over for their collaborations, both in the concert hall and on CD. I detected a slight shift in the parameters of their relationship compared to, say, ten years ago, in that Holzmair appears to have become more extrovert and expressive, whereas Cooper appears to have refined her accompanying skills to even greater heights of sensitivity. Unfortunately, although this aspect of her art is highly admirable and valuable, I feel she has almost retreated too far into the background. This slight imbalance, although mild, was depicted in sharp relief by the accompaniments in Wolf's songs which are frequently large scale, virtuosic, and orchestral in flavour. Aside from a rather undesirable habit Cooper had of mismanaging coming off the final chord of a song (generally because she had already started arranging folios for the next piece), all of what she did was of such high quality, it would have been nice to have had more of it.
Holzmair appeared very relaxed and ready to engage with what, for him, has become a very loyal and supportive audience. He was on form from the word go, his voice appearing to have filled out slightly over the years. Although his timbre is very beautiful, its dryness and limited size somehow allow one to focus more on what he is doing with it, rather than simply marvel at the sound. His response to text appears to be very direct, with a touching naturalness. The change in colour at the end of the first song, 'Auf einer Wanderung', for the line 'O Muse, du hast mein Herz berührt Mit einem Liebeshauch!' was deeply affecting, Holzmair's voice suddenly taking on a pianissimo fragility at the crux of the poem. His amusing depiction of the word 'schnarchet' in 'Der Tambour' was effective but unobtrusive, and the ardour at the end of 'Der Gärtner' had a seductive intensity that made one lament the fact that the song was so short. Although 'Der Feuerreiter' was almost too big a piece for Holzmair's light baritone to encompass, there was an urgency about the performance from both artists in what is quite a tour de force for pianist and singer, which meant they carried it off successfully. Having tried to give perhaps more than he had in the first three and a half verses, Holzmair regained control to deliver the final repetition of 'Hinterm Berg, Hinterm Berg' with great beauty and poise.
One could pick out moments from the performances of each of the twenty-six programmed songs which distinguished the interpretations. But it was in the renditions of two of the more comic pieces that Holzmair really impressed me, having conquered all of his former reserve to display a considerable talent for acting and characterisation. He did not shy away from the rather unsubtle sexual metaphor in 'Nimmersatte Liebe', and the look on his face at the repetition of the final couplet implied he fully expected the audience to identify with its sentiment. 'Zur Warnung' was given a very daring treatment, the first verse, in which the protagonist is hung-over, delivered in a striking Sprechgesang which gradually morphed into singing for when he quoted the muse.
Although Holzmair doesn't have the huge glossy voice of a star baritone, his disarming platform manner and careful attention to detail within what is quite an instinctive musical approach is massively successful in song. He knows how to sell a poem, and how to draw an audience in, qualities which really matter in Lieder.
By John Woods
Read recent concert reviews, including Kate Royal, Thomas Hampson and Simon Keenlyside's recitals at the Wigmore Hall, here.