At the Wigmore Hall, there’s long been a tradition of Swedish song. We’ve heard many of the greats, Anne Sofie von Otter, Barbara Bonney and others. Miah Persson and Roger Vignoles are in this constellation.
The performance at the Wigmore Hall of Schubert’s Die schˆne M¸llerin by Florian Boesch and Malcolm Martineau was outstanding. Over several decades, I’ve heard hundreds of performances, but this was exceptionally perceptive.
Each year, the Wigmore Hall commemorates Franz Schubert’s birthday with a high profile recital. This year, Werner G¸ra and Roger Vignoles presented a recital which was a timely reminder of what Lieder performance should be.
In just ten years, the Oxford Lieder Festival has become Britain’s most important Lieder festival, with an international following.
The Wigmore Hall is the most respected centre of art song excellence in Britain and its Song Competition attracts interest from all over the world.
Florian Boesch and Malcolm Martineau gave the finest recital so far in the Wigmore Hall’s decade by decade series of German Song.
Schubert, but not quite as we know him. You can always rely on the Wigmore Hall to promote adventurous recitals.
Angelika Kirchschlager and Malcolm Martineau at the Wigmore Hall showed what real Lieder singing should be.
Unlike instrumental players, singers “are” their instrument. They aren’t machines. Performance is affected by many shifting factors, which need to be understood.
Ned Rorem’s Evidence of Things Not Seen received its European premiere at the Oxford Lieder Festival.