Dorothea Röschmann returns (Wigmore Hall, 10 September 2018)

Judging by the recent interest in certain older posts, I see you’re dying to find out if I attended to DR show at Wiggy this past Monday. I did! No schedule is too busy or September too cold1 when specific singers are in town.

It’s been almost two years since DR’s last Wiggy date. In the meantime her biggest engagement in London has been second cast Desdemona at ROH, which I read was very fine although I didn’t attend because late Verdi.

Surprisingly, this time she was the most relaxed and perhaps even happy2 that I’ve seen her. Wisely she stayed close to the middle of her voice for most of the show, though, DR being DR, she had to spread her wings on a few occasions, especially after the interval. She can still hit the heights, though it by no means feels particularly easy – or clean sounding, for that matter. But the middle is as full and as attractive as always and the lows have gained a commanding gravitas.

Her pianissimos were all beautiful and deftly executed and the pathos was of course there, as it has this funny tendency of clinging to her. I enjoyed the piano singing so much that I wanted her to continue like that for the next couple of days (or years) 😉 Yes, the time has come to visit with DR for the soft singing. Who’s complaining? Not me.

Dorothea Röschmann soprano
Malcolm Martineau piano

Robert Schumann (1810-1856)
Gedichte der Königin Maria Stuart Op. 135

Hugo Wolf (1860-1903)
Mörike Lieder
An eine Äolsharfe
Das verlassene Mägdlein
Erstes Liebeslied eines Mädchens
Begegnung
Denk’ es, o Seele!
Auf ein altes Bild
Verborgenheit

Interval

Johannes Brahms (1833-1897)
Alte Liebe Op. 72 No. 1
Auf dem Kirchhofe Op. 105 No. 4
Der Tod, das ist die kühle Nacht Op. 96 No. 1
Unbewegte laue Luft Op. 57 No. 8
Liebestreu Op. 3 No. 1
Meine Liebe ist grün Op. 63 No. 5
Wir wandelten Op. 96 No. 2
Nachtigall Op. 97 No. 1
Von ewiger Liebe Op. 43 No. 1

Encore:

Die Lotosblume (Schumann)
Es muss ein Wunderbares sein (Liszt)

It was a low key thing but rather relaxed low key than super intense. I really liked Die Lotosblume, she gave it a gentle delicacy that plucked at my sometimes not easily pluckable heartstrings.

In related news: Mitsuko Uchida casually attended the show (it’s always good to have another top accompanist on hand, lest your audience makes complicated travel arrangements and the show gets cancelled due to accompanist issues; just sayin’…3) and Wiggy has refurbished its toilets for the Autumn Season! Let me assure you Salzburg has nothing on Wiggy anymore, the toilets are a sight to behold 😉 if half your audience disappears after the interval you know where to find them (the restaurant is cool, too).


  1. yes, gentle reader, it’s that time of the year again – the time to start complaining about how cold London gets without being actually cold. We’ve had a great summer, yay! – but it’s over, oh, so over. 
  2. she’s always struck me as a very private and even shy person so even when she’s happy it may be difficult to read it as that. But this time she smiled on a good few occasions. I’m not sure I’ve seen her smile a real smile before, although she’s regaled us with her share of silly songs. 
  3. it’s the second mezzo this year who’s done the two strikes and I’m not shelling out for tickets anymore jig. 
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About dehggial

Mozart/Baroque loving red dragon

Posted on September 13, 2018, in live performances, sopranos, wigmore hall and tagged , , , , . Bookmark the permalink. 3 Comments.

  1. me likes!!!
    me also super likes Mitsuko Uchida casual appearance!

  2. Brahms Lieder, quite special, I really love some of them, and DR, that must have been so good! (If you continue your language project, it’s really worth to study the Lieder, the music is often very beautifully tied with the text).

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