Susan Graham at Carnegie Hall

Susan Graham at Carnegie Hall

Susan Graham at Carnegie Hall
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Music CD Cover

Composer: Johannes Brahms
Composer: Claude Debussy
Composer: Alban Berg
Composer: Francis Poulenc
Composer: Andre Messager
Composer: Moises Simons
Composer: Reynaldo Hahn
Composer: Gustav Mahler
Composer: Ben Moore
Performer: Susan Graham
Performer: Malcolm Martineau
Edition: Music CD
Audio: German (Unknown); English (Original Language); German (Published)
Format: Live
CD Release Date: 2003-10-07
Music Label: Erato
Soundtracks:
  1. Zigeunerlieder (8), for voice & piano (arranged from Op. 103): He, Zigeuner, greife in die Saiten ein!
  2. Zigeunerlieder (8), for voice & piano (arranged from Op. 103): Hochgetürmte Rimaflut
  3. Zigeunerlieder (8), for voice & piano (arranged from Op. 103): Wisst ihr, wann mein Kindchen am allerschönsten ist?
  4. Zigeunerlieder (8), for voice & piano (arranged from Op. 103): Lieber Gott, du weißt
  5. Zigeunerlieder (8), for voice & piano (arranged from Op. 103): Brauner Bursche führt zum Tanze
  6. Zigeunerlieder (8), for voice & piano (arranged from Op. 103): Röslein dreie in der Reihe
  7. Zigeunerlieder (8), for voice & piano (arranged from Op. 103): Kommt dir manchmal in den Sinn
  8. Zigeunerlieder (8), for voice & piano (arranged from Op. 103): Rote Abendwolken ziehn am Firmament
  9. Proses lyriques (4), song collection for voice & piano, L. 84: De rêve
  10. Proses lyriques (4), song collection for voice & piano, L. 84: De grève
  11. Proses lyriques (4), song collection for voice & piano, L. 84: De fleurs
  12. Proses lyriques (4), song collection for voice & piano, L. 84: De soir
  13. Early Songs (7), for voice & piano (or orchestra): Nacht
  14. Early Songs (7), for voice & piano (or orchestra): Schilflied
  15. Early Songs (7), for voice & piano (or orchestra): Die Nachtigall
  16. Early Songs (7), for voice & piano (or orchestra): Traumgekrönt
  17. Early Songs (7), for voice & piano (or orchestra): Im Zimmer
  18. Early Songs (7), for voice & piano (or orchestra): Liebesode
  19. Early Songs (7), for voice & piano (or orchestra): Sommertage
  20. Quatre poèmes de Guillaume Apollinaire, for voice & piano, FP 58: L'Anguille
  21. Quatre poèmes de Guillaume Apollinaire, for voice & piano, FP 58: Carte postale
  22. Quatre poèmes de Guillaume Apollinaire, for voice & piano, FP 58: Avant le ciméma
  23. Quatre poèmes de Guillaume Apollinaire, for voice & piano, FP 58: 1904
  24. Les P'tites Michu, operetta: Vois-tu, je m'en veux
  25. L' Amour masqué, operetta: J'ai deux amants
  26. Toi c'est moi, operetta: C'est ça la vie, c'est ça l'amour
  27. A Chloris, for voice & piano (from 'Melodies, Book II')
  28. Fantoches ('Scaramouche et Pulcinella'), song for voice & piano, L. 21
  29. Liebst du um Schönheit, song for voice & piano in C major (Rückert Lieder No. 5)
  30. (I Can Be A) Sexy Lady, for voice & piano
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Susan Graham at Carnegie Hall Poster

Susan Graham has firmly established herself as one of our leading mezzos in opera and recital. Her voice, infinitely varied, perfectly focused, and produced, has the mellow glow of burnished bronze, but at the top she narrows her vibrato to give it a brighter, more intense quality. This live recording of her Carnegie Hall concert last April combines total vocal control with the spontaneity and excitement of a performance--complete with audience reactions--and displays her stylistic versatility, her charm, expressiveness, and communicative projection to brilliant advantage. The program features two German song cycles and several groups from her signature French repertoire. Brahms' "Gypsy Songs," one of his numerous Hungarian-influenced compositions, use texts derived from Hungarian folksongs and deal essentially with love and yearning. Graham captures all their changing moods, from melancholy to exuberance, making the last one soar ecstatically, but sometimes loses their simplicity in mannerisms and over-inflection. Alban Berg's "Seven Early Songs" on texts by various poets, written long before he became an atonalist, are super-romantic, amorous, dramatic; only the two final ones harbor hints of his future style. They are sung with rapturous inwardness. Four songs by Debussy on his own descriptive, pensive verses are calm, dreamy, mellow, caressing; four by Poulenc on poems of Apollinaire are satirical parodies; one is a bravura patter-song. Two songs by André Messager and one by Moises Simons, taken from their operettas, are basically cabaret songs and grand fun; they give Graham a fine opportunity to show the lighter side of her artistry. The encores include a serious song by Reynaldo Hahn, a humorous one by Debussy, Mahler's "Liebst du um Schönheit," a love song he wrote for his wife, and the first performance of a song written for Susan Graham by Ben Moore: a hilarious spoof on the fate of a mezzo condemned to sing trouser roles--with quotes from them--when she longs to be a "Sexy Lady." --Edith Eisler

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