It is difficult to write about something that does not agree to your taste. You may even acknowledge that there are many qualities in something that you do not really like, but the heart remains indifferent to everything the mind proposes. I am afraid that is my situation with Christian Gerhaher, a singer I had read a lot about before I had the opportunity to hear him in recital as early as 2007 (a Schöne Müllerin at the Carnegie Hall). Back then I wrote that the musicianship, the intelligence and the sensitivity were undeniable, but I couldn’t go beyond the chopped legato, the fussiness, the unsupported ending of phrases, the almost parlando not truly on pitch effects. And I am afraid I still can’t. This has nothing to do with Mr. Gerhaher’s talent – it’s just my personal taste to expect keenness on legato on items that really need it to produce its real effect and, most of all, some generosity of emotion. Singing Schubert and singing Brahms are two entirely different arts – here the description of feeling does not replace the feeling itself.
All that said, I have enjoyed this recital in an almost purely “intellectual” way. First, the all-Brahms program is extremely well chosen, showing all kinds of songs by a composer particularly wide-ranging in his approach to Lieder writing. Second, Mr. Gerhaher’s clarity of diction – more than that, his crispness of textual delivery – is exemplary. You can feel his love for declamation in the German language, and while I don’t believe this is an Ersatz for the true love of musical phrasing, this is still something that deserves and inspires love. Third, pianist Gerold Hubor almost makes for the singer’s fastidiousness in his round, warm-toned, fully-engaged playing. I wouldn’t want to hear Mr. Gerhaher accompanied by anyone else.
The first part of the program, the 9 Lieder und Gesänge op. 32 – to my taste – require a little bit more of flowing cantabile and sense of unity to evoke the right kind of atmosphere – as one can hear in Thomas Quasthoff’s recording with Justus Zeyen for Deutsche Grammophon. The Vier ernste Gesänge seems to me a more appropriate choice for Mr. Gerhaher’s talents. While I still believe these songs sound more “serious” and imbued of spiritual wisdom with a singer more direct in style, this German baritone’s crispness of delivery and oratorical approach aptly brings a splash of the sermon for the congregation to the concert hall. There is also something refreshing in the large dynamic range employed by Mr. Gerhaher – he is not afraid of going 100%, and his well-focused projection make for real presence in his burnished high notes.
After the intermission, the baritone offered some of his best singing – again – for my taste. Items that require some sensuousness invariable hang fire, but those who require real introspection and a sense of dejection and world-weariness such as Regentropfen aus den Bäumen (from the “Regenlied-Zyklus”) and Herbstgefühl met entirely my expectations. In any case, if someone like me who does not have a natural affinity for this singer found this Liederabend worth the while, I can only imagine that those who enjoy his artistry more readily must have really cherished the experience.
I HEAR VOICES 
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