Presented by Catriona Barr and Penelope Cashman
Reviewed: 11 September 2022
Well Versed: Poetry by Rückert, Mörike and von Gilm as set to music by Mahler, Schubert, Wolf and Strauss
Reviewed by: Pat H. Wilson and Adrian Barnes
Two tall women in dark dresses kept a roomful of people spellbound with the lyrics of three German Romantic poets set to the music of Strauss, Mahler, Schubert and Wolf. The choice of composers gave us, through Schubert’s romanticism, Mahler’s madness, Strauss’ expressionism and Wolf’s incorrigible inner child, an afternoon filled with beautiful, challenging and, sometimes superbly comic musical interpretations of the works of these fine German poets.
The concert, billed as “German Lieder celebrating the link of poetry and song”, was held in the light, bright (both visually and acoustically) concert room of Coriole’s Top House. This is a delightful space with a vaulted ceiling, wooden floorboards, rural views and a grand piano. It is the ideal setting for an afternoon of Lieder – an intimate transaction that demands a setting where the artist has a direct connection with the audience. Storytelling is of tantamount importance in conveying the emotional meaning of the song both in lyrics and sound. Lieder as an art form developed out of chamber music where the audience was small and often elite. As Lieder and larger art song styles developed and became more complex in form and content, their function expanded beyond solely at-home performances, reaching the concert stage.
Lieder singer was mezzo Catriona Barr, accompanied by pianist Penelope Cashman. It has become fashionable to call accompanists “collaborative artists”. However, this performance was eminently collaborative, showcasing the scholarship, artistry and personality of both performers. Programme notes (mercifully short and clear) explained that Barr and Cashman chose to approach the selection of material for performance by first focussing on the poetry. Their meticulous scholarship has paid off, resulting in a refreshing programme of Lieder familiar and obscure, gentle and passionate, joyful and despairing.
For any singer, this programme (four Schubert, five Mahler, five Strauss and five Wolf) would offer a considerable challenge… likewise, for any pianist. Both Cashman and Barr proved more than equal to the task. From the moment Penelope Cashman’s fingers touched the keys and Catriona Barr’s liquid, velvet rich mezzo-soprano voice launched us on this exquisite journey, the audience breathed in the atmosphere and relaxed into a place of contentment. Barr’s voice is world-class, and her ability to mobilise, enrich and contextualise the song she is singing transported her audience. Cashman’s musicianship, and her seamless work as an accompanist, conspired to make the world go away as we sat in a sun filled room and were treated to some very fascinating, infrequently heard songs along with some old favourites. Cashman is well-versed in all aspects of the work of these German poets and composers. Her knowledge of where, when and why these pieces came to life is impressive on its own. When applied to the performance it becomes inspirational.
Barr’s voice is just right for this repertoire now. If you have been listening to her over the years, you will have noticed a growth in the creaminess of her middle register and a greater ease of access across her upper passagio, particularly at pianissimo levels. She has always been a consummate storyteller. In flawless German, with lively facial expressions, small but telling gestures and a gift for engaging each audience member in the emotional journey of the song, Barr was an authoritative and entertaining presence throughout. Her ability to tell the story transcends language, and her constant attention to detail, supporting either the dramatic convention or comic timing, reminded us how intrinsically satisfying it is to work with someone (Cashman) who hears and sees every nuance of a performance and seeks to enhance every moment.
Penelope Cashman is an extraordinary artist; her sensitivity to the musical qualities of all four composers was consistently apparent. [Personal note from Pat: By the time Cashman had played the first two bars of introduction to Ich bin der Welt abhanden gekommen (Mahler/ Rückert) I was silently sobbing behind my COVID mask.] It hardly needs to be said that Cashmans work was constantly of a piece with Barr, in both musicality and emotional communication. These women work intuitively together on a level seen only in the highest level of professional collaborations – reminiscent of the partnership between Dame Janet Baker and Gerald Moore.
The programme included a QR code providing access to side-by-side German text and excellent English translations (mostly by Richard Stokes). This canny courtesy added value to the event, allowing all audience members a window into the poetry.
Lieder, by definition an intimate performance experience for artists and audiences alike, was perfect for the cosy setting of Coriole’s Top House under the auspices of Mark Lloyd, whose patronage of the arts in the McLaren Vale area is a valued tradition. There are murmurings that this recital programme may visit some other places appropriate for the enjoyment of an audience in intimate and inspiring locations. Keep your eyes peeled. If you love German Lieder, amazing vocal gymnastics, accompanied by an extraordinarily dextrous and intelligent accompanist, you won’t want to miss it next time.
The concert was dedicated to the much-loved late musician Thomas Webb – boxing coach, hospitality genius and extraordinary classical pianist and accompanist. If Tom’s earlier collaborative work with Barr spurred her towards further research and performance of German Lieder, we have even more to thank Tom for.
Reviewed by: Pat H. Wilson and Adrian Barnes
Venue: The Top House, Coriole Winery
Season: Season ended
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