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LEBRECHT LISTENS | The Magnificence Of French Music: Mutual Instinct Between Mezzo Madalena Kozena & Pianist Mitsuko Uchida Elevates Extase


L-R: Mezzo-soprano Madalena Kozena & pianist Mitsuko Uchida (From the album cowl, Debussy, Messiaen: Extase on Pentatone Information)

Debussy, Messiaen: Extase (Pentatone)

★★★★☆

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There’s a line of magnificence that runs by French vocal music, from Debussy to Messiaen to Boulez, which exists to the exclusion of all else. Whenever you pay attention, it seems that no different French songs exist — no Ravel, no Poulenc, no Jacques Brel — nothing however this ethereal area through which every consonant is positioned with aesthetic precision, like raspberries in a patisserie, or boules in a city sq..

Singing on this style can sound treasured and showy. Not on this album, nevertheless.

Madalena Kozena speaks Czech as mom tongue, English and German at residence. Whereas her recital French is flawless, what she brings to Debussy’s Chansons de Bilitis is an sudden contact of Janacek within the night time — that inimitable darkish zone between singing and talking that turns a chanson into overheard dialogue on an intercity prepare. It’s notably efficient in two units of poems by Baudelaire and Verlaine, gossipy, intimate and greater than a bit disreputable.

Messiaen’s Poèmes pour Mi are chaste, filled with Church and Christ, and somewhat gray by means of tonal color. They had been written for his first spouse within the mid-Nineteen Thirties across the time of their marriage. Kozena sounds virginal, free of impure ideas. Mitsuko Uchida’s pianism, jewelled as a marriage robe, guarantees bliss on the finish of the bower. The mutual instinct is immaculate. At no level are you able to inform which ones, pianist or singer, anticipates the opposite. It’s excellent communion.

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