Nobody sings like Brigitte Fassbaender. She is one of those singers you just need two or three notes and you’ll know it is her. I was going to write that no German mezzo sings like Fassbaender – and, yes, most German mezzos are quite soprano-like in sound and we often hear “it’s difficult to tell the Isolde from the Brangäne'”. That never happens with Fassbaender, especially when she shifts to her low notes, definitely chestier than what you hear across the Alps. And I would not say she sounds “Italianate” either – the voice is more middle-centric than what you’ll find with Italian mezzos, who tend to shine in both ends of the range. And that takes us to another conundrum around Fassbaender’s voice: if you look at her repertoire, you’ll be tempted to say she was a dramatic mezzo, but you soon realize that this was never the grain of her voice. Yet she didn’t either sound like a light mezzo soprano – the voice sounds dark-ish, a bit heavy and there isn’t really a float there. Sui generis is the word you must be thinking about.
The word I’m thinking about, however, is “naughty”, but that was not the beginning of the story. Fassbaender could be a “good girl”, as her recordings ranging from Bach to Rosina’s Una voce poco fa tell. It is noteworthy that Mozart always seemed a bit claustrophobic for her personality, but the fact is that she gradually walked away from niceness. She was a singer that needed to go for broke – she could force her low notes, drive her high register dangerously tense. She did have a solid technique (and the fact that she managed the passaggio so adeptly is an evidence of it) but she needed to test her limits – and that made her singing particularly exciting. You felt that one inch more would mean rolling downhill into the abyss. And this is why she was able to convince us that she could sing dramatic roles. In any case, apparently she convinced Riccardo Muti she could sing Amneris and Carlo Maria Giulini that she could sing Azucena. Fassbaender was not only a matter of guts – she is a highly intelligent woman and she makes a point of doing things her way. Even if one acknowledges that Verdi requires a different voice for parts like these, you feel compelled to hear what she is doing in them because you’ll never hear them sung like that anywhere else. Curiously, Fassbaender was less adventurous in Wagner. As far as I know, she sang Fricka, Brangäne, Magdalene and Waltraute (beside the inevitable Flosshilde), but (wisely, I would say) no Venus, Ortrud or Kundry. Her most famous operatic role, in any case, is Octavian in Der Rosenkavalier, on paper a soprano part. Even compared to other mezzos, Fassbaender sounded darker and clearly less “Mozartian” in it. It was indeed an intense account of the role, matched by her alert stage presence (although everyone mentions her father, baritone Willi Domgraf-Fassbaender, as an influence on her, we can’t forget that her mother, Sabine Peters, was a theatre and movie actress).
The heavy duty eventually had a cost, of course. After a while, the texture in Fassbaender’s tone sounded increasingly loose. The vibrato became prominent and the dynamic range shorter. This is the beginning of what one could call Fassbaender’s second career in Straussian “character roles”: the Amme in Frau ohne Schatten and Klytämnestra in Elektra, performances usually described as “demented”. She was also an active concert singer and recorded many alto parts in symphonic works, as in Giuseppe Sinopoli’s Mahler series. However, one cannot play down her importance as a Lieder singer. Although Fassbaender’s vocal personality was a bit too exuberant for chamber music, her unique take on text and music made her revelatory, even when the voice lacked some finish. For instance, if you want to hear a woman singing Schubert’s Die Winterreise, then her recording with composer Aribert Reimann is unavoidable.
You might be curious to know what we are going to hear with a singer whose repertoire was so wide and whose discography was so extensive. I’ve always regretted the fact that she didn’t leave any complete recording in the role of Eboli in Verdi’s Don Carlo. No doubt it sat on the limit of her possibilities, but her studio recording of highlights in German with Edda Moser, Nicolai Gedda, Kurt Moll, the Berlin Radio Symphonic Orchestra and Giuseppe Patanè treasures one of my favorite accounts of O Don Fatale (here Verhängnisvoll war das Geschenk). First of all, I must explain that, even if I’d rather listen to opera in the original language, I make an exception for Verdi auf Deutsch, not only because of the effect of the wordiness in the German text but also because this allows us to hear singers not usually recorded in that repertoire in roles actually apt for their voices. In this case, Fassbaender has the flashing personality for Eboli and her élan makes the character a little bit more believable than it usually is. Moreover, she sounds young in it and has the right touch of vulnerability behind the excesses of passion. I won’t write about the role or the aria itself, for I have done it already here in 2008 (I thought of rewriting the text, but part of me like the fact that it sounds like my 2008 self).
The first thing one notices about Fassbaender’s O don fatale is that she doesn’t start at 100%. Here she avoids, as most mezzos do, tossing her desperation right at our faces, but rather walking us through many layers of feelings. As the text tells us, she realizes for the first time that being attractive is the reason why she finds herself in such a dire situation; she is still processing this insight, even weighing pros and cons – yes, beauty is something that makes women like her stand out, but it is also a curse in disguise and she regrets it now. This is no self-piteous whining – Eboli is a princess and one must feel that she is settling a personal matter with God at this point. She is that important. And Fassbaender enunciates the text in the grand manner – hear the way she spits her consonants in Wie Du so stolz, so eitel mich machest (=Tu che ci fai si vane, altere). After she has cursed her own beauty, the extent of her predicament finally dawns on her: she is an outcast now, a traitor, a despicable person. On top of her own proudness, she despises herself. The next phrases (in Italian, Versar, versar sol posso il pianto, speme non ho, soffrir dovrò, il mio delitto è orribil tanto, che cancellar mai nol potrò – I can only let my tears flow, I have no hope, I must suffer, my crime is so horrible that I will never be able to revert it) fall right in the middle register in an aria that tends to require a lot of both low and high notes. I.e., the singer may sound a bit off here. Yet Fassbaender delivers them with absolute clarity. The text, especially in German, is wordy – all those ideas are running through her head. It is important for the singer to keep these treacherous phrases focused for they are building up to a powerful climax – a c flat (high b natural), a very high note for a mezzo soprano. Fassbaender hits it with absolute precision. It is a radiant note which she holds as long as she can and then, with the help of a downward portamento seamlessly transitions for another c flat, this one two octaves lower. Here, not only Fassbaender’s control of chest resonance pays off but also she finds the right touch of snarl in the corresponding text, Ah, sei verflucht! (I curse you!) It must be said that this makes more sense in German than in Italian, because of the inversion in the translation (in Italian, the lower part of the phrase has the text O mia beltà – “My beauty”).
After this tempestuous introduction, the aria itself, which is more lyric in nature, begins. Here is the part when she regrets everything she has done. In the introduction, it was all God’s fault (who has cursed her with beauty). Now Eboli is taking responsabilty for her own actions in an imaginary dialogue with the queen (whom she has betrayed by falsely accusing her of doing something she herself was guilty of). The way Verdi wrote it is very testing for the singer – it involves again and again navigating the passaggio (so-o–lo in-UN–CHIOS-TRO). With Fassbaender, one hardly notices any change in the quality of the sound. But this is not the only challenge here. There is a very subtle building climax – phrases are very repetitive and Verdi requires each instalment to be sung a little bit louder only to allow for some relaxation in dynamic before it all starts over again and again. The middle register is a tough place to put some weight on the voice – if you go ballistic there, then shifting into high register is going to be really tough – and that’s exactly what is happening next. Fassbaender creates this cumulative effect by letting these notes spin rather than force them – you can feel that they’re becoming more and more vibrant rather than pressed hard upon. When she finally has to attack directly a high b flat, you see how much of a risk-taker she was. She handles the tricky passage with poise, but you can see she ends the phrase in the last molecule of air available to her at this point. Verdi has another peril in reserve in the a flat – g – a flat “shake” in al mondo omai dovrò cellar il mio dolor (I’ll must hide my pain from the world). Here’s generally the moment you feel the singer is desperate for some repose (unfortunately, this is not going to happen). The text in German is more congenial (she has only vowels) and there’s room for an extra pause for breathing.
Now we have a recitative before the stretta (some would call it a cabaletta, but it’s really so brief that I feel unsure if this would be the right way to call it). This is the moment when she thinks of Don Carlos. The fact that he did not correspond her feelings is the reason why Eboli wrongly accused the queen (who happens to be the one the prince really loves). Yet she realizes now that he is the one who’ll receive the blow of the king’s revenge. Again in German, this passage sounds even wordier and that’s how it is supposed to sound – Eboli is quickly considering everything that can go wrong with Carlo. Cleverly, Fassbaender sings it as lightly as possible as if a bit in shock and saves the energy to let out a dark Ein Tag bleibt noch mir (=Un dì mi resta, I still have one day left). Once more Verdi is asking from the singer everything she still has left to offer. Eboli sees that her single hope of atonement is saving Carlos and she’s going all for it. The passage starts in a high a flat marked ff. Verdi makes the mezzo plunge down to her low register just once more before gradually lifting the tessitura in phrases that require almost Rossinian precision until he makes her sing two b flats, while she repeats she’ll save Carlos, she’ll save him, God helps her. Fassbaender makes it very exciting, for she doesn’t spare herself, while keeping the voice focused and bright (which is the wise way of doing it if you’re not a dramatic mezzo – I’d say “even if you’re a dramatic mezzo”). The first b flat (which comes in the end of a half-scale) is the one singers usually like to cut short as fast as possible – Fassbaender still finds some leeway to round it off with aplomb. The second one is actually tougher: the way Verdi really wrote it, there is no place to breathe in the whole phrase and you still have to end it in a long high a. What mezzos do with it in real life is unpredictable – the text is reorganised, the phrase is chopped, there’s always an “ah!” to save the day. I don’t really know how the German text is supposed to be – it could be anything, for Verdi himself never wrote a German version (as we know, until a scholar comes with a new theory, the opera was originally composed in French instead). As most singers do in the Italian text, she finds a pause before the high b flat, but she proves to be bit naughtier by making a second pause after that: Ich rette ihn (pause) ach (pause) ja! She makes it work like that. Frankly, at this point she had already sold me her account of O don fatale anyway…