Christian Gerhaher’s “Alle Lieder” stands as a remarkable and comprehensive exploration of Robert Schumann’s song repertoire. The project, initiated in 2018 alongside pianist Gerold Huber, takes on the ambitious task of presenting Schumann’s songs in their entirety, making it the first attempt by a single vocalist to achieve such comprehensiveness. Spread across 11 discs, the collection showcases Gerhaher’s meticulous attention to detail and his nuanced approach to each song’s individual character.

Gerhaher’s performance is marked by his unwavering dedication to lyrical expression. His affinity for Lieder singing is evident in every phrase, where he masterfully crafts the sonic landscape of each song. The result is a consistently rewarding set that immerses the listener in Schumann’s emotional world.

While the packaging and promotion suggest a one-man accomplishment, the collection does feature other vocalists sharing the stage. For instance, Camilla Tilling joins Gerhaher for the Op. 25 collection “Myrthen,” while soprano Julia Kleiter takes on the song cycle “Frauenliebe und -leben.” Additionally, various singers are enlisted for duets and part-songs with piano.

A standout inclusion is the Op. 35 Kerner-Lieder, which opened the project. However, it is Gerhaher’s interpretation of the three great song cycles – the two Liederkreis, Op. 24 and Op. 39, and “Dichterliebe” – that truly captivates. Comparing Gerhaher’s 2003 recording of “Dichterliebe” with this latest rendition reveals an evolution in his interpretation. His tone has deepened subtly over the years, and the pacing is slightly more deliberate. Yet, his commitment to meticulously weighing each word remains constant.

One intriguing aspect of this collection is Gerhaher’s emphasis on Schumann’s later songs, composed in 1849 and 1850. These pieces, often overshadowed by the more famous “year of song” in 1840, receive the spotlight they deserve. Gerhaher places particular significance on the Op. 90 Lenau settings, asserting their excellence among the later works.

While some choices in vocal assignments might raise questions – such as sharing the poignant opening song “Widmung” from “Myrthen” with another vocalist – Gerhaher’s overall approach to the project showcases his deep respect for Schumann’s work and his eagerness to present a holistic view of the composer’s song output.

In terms of packaging, the collection is thoughtfully accompanied by full texts, translations, and a useful index, providing accessibility to both casual listeners and devoted Schumann enthusiasts. Gerhaher’s brief notes on each opus provide insightful context for the performances, adding an extra layer of appreciation for the music.

“Alle Lieder” is an enticing proposition for Schumann aficionados, offering a journey through the composer’s diverse song catalogue. Gerhaher’s sensitivity, combined with the collaboration of other talented vocalists and the pianistic excellence of Gerold Huber, results in a set that not only pays homage to Schumann’s legacy but also invites listeners to experience his songs in a fresh and compelling light.

Sonya Yoncheva, accompanied by conductor Leonardo García Alarcón and his ensemble Cappella Mediterranea, delivers a soul-stirring masterpiece in her album “Rebirth.” This album, which was conceived during the spring lockdown of 2020, is a manifestation of hope and creative renewal, exploring the profound connection between silence and artistic rebirth. Spanning over five centuries of music, from folksongs to pop and even seventeenth-century opera, Yoncheva’s fourth solo album for Sony Classical is a testament to the enduring power of music to evoke emotions that transcend time.

The album commences with compositions that hail from the dawn of opera, featuring enchanting pieces by Monteverdi, Cavalli, Strozzi, and Stradella. Yoncheva believes that despite the passage of half a millennium, the emotional depth and simplicity found in certain musical styles remain as relevant today as they were centuries ago. This belief resonates through every note she sings.

The thematic journey extends to England, exploring the works of Dowland, Gibbons, and Ferrabosco. An intriguing connection is revealed between Ferrabosco’s motet “Hear me, O God” and ABBA’s “Like an Angel Passing Through My Room,” both sharing a common four-note theme. This blending of eras and genres serves as a reminder that music’s essence is truly timeless.

The album’s exploration continues through dance-inspired compositions from Spain and Latin America, including Alarcón’s thoughtful reconstruction of an aria by Antonio Draghi. Yoncheva then embraces her Bulgarian heritage with a traditional folksong, “Zableyalo mi agance,” which she delivers with an unforgettable emotional intensity. The media’s enthusiastic praise following her performance of the album repertoire at the Salzburg Festival underscores the emotional impact of her music, with critics lauding her ability to move audiences to tears.

Sonya Yoncheva’s passion for this project is palpable. She considers the album an ode to the eternal quality of music, a celebration of boundless freedom that it offers. It’s a call for renewal in a world that craves it desperately. The recording process, undertaken during the first European lockdown, adds an additional layer of depth to the album, as the acoustic environment of La Chaux-de-Fonds’ concert hall is compared to “playing inside a vast lute.” This unique ambiance further enhances the album’s immersive quality.

Having been named artist of the year by Opera magazine readers in 2019 and a sought-after guest artist in prominent opera houses worldwide, Sonya Yoncheva brings her remarkable talent to the forefront in “Rebirth.” Her vocal prowess, combined with the thoughtful curation of timeless compositions, results in an album that resonates deeply and evokes a sense of renewal and optimism.

“Rebirth” is not merely an album; it’s a transformative experience that invites listeners to immerse themselves in centuries of musical artistry and find solace in the enduring power of music. Sonya Yoncheva’s artistry and vision shine through in every track, offering a profound reminder of the beauty that can arise from periods of stillness and silence.

Sara Övinge’s “Patientia” presents an innovative reinterpretation of two violin concertos, brought to life by the Norwegian Chamber Orchestra under the direction of Edward Gardner. The album features Kjetil Bjerkestrand’s debut recording of “Patientia” and Philip Glass’s “The American Four Seasons,” both showcasing Övinge’s virtuosity and the orchestra’s adeptness at navigating the intricate landscapes of modern compositions.

In “The American Four Seasons,” Philip Glass offers a departure from traditional reinterpretations of Vivaldi’s masterpiece. Instead of blending Vivaldi’s themes with modern elements, Glass encourages listeners to sculpt their own spring with his evocative score. Sara Övinge’s rendition takes Glass’s 2009 concerto to new heights, replacing the harpsichord with a synthesizer for a more nuanced texture. Throughout the piece’s eight movements, Övinge’s violin soars, injecting drama and energy into each note. The opening movement’s deliberate pace is enlivened by Övinge’s playful pirouettes, while her nimble performance transforms repetitive motifs in the third movement into captivating melodies. The Norwegian Chamber Orchestra, led by Edward Gardner, provides unwavering support, creating a dynamic synergy that propels the concerto forward.

Complementing Glass’s minimalist landscapes, “Patientia” by Kjetil Bjerkestrand is a revelation. The concerto takes its name from the final movement and marks its premiere recording on this album. Unlike Glass’s deliberate separation of electronic and orchestral elements, Bjerkestrand’s composition seamlessly blends electronic and acoustic timbres. The result is a concerto that transcends traditional boundaries, occasionally diverging from the expected violin concerto format. Moments like “En & tyve” challenge conventions, reflecting Bjerkestrand’s diverse cross-genre influences. The concerto’s brisk pace, rhythmic motifs, and fragmented melodies intertwine with electronic soundscapes, creating a captivating auditory journey that engages the listener from start to finish.

One of the distinguishing features of “Patientia” lies in the synthesis of synthesizers and strings, a motif that resonates throughout both concertos. Sara Övinge’s artistry shines as she navigates the intricate interplay between traditional and modern elements, breathing new life into these compositions. Edward Gardner’s guidance of the Norwegian Chamber Orchestra ensures a tight-knit collaboration that captures the essence of the music. In “Patientia,” Sara Övinge and the Norwegian Chamber Orchestra invite audiences into a realm where classical and contemporary fuse harmoniously. With Övinge’s captivating violin performances and the orchestra’s dynamic support, the album presents a fresh perspective on two masterpieces, inviting listeners to experience the classical genre through a modern lens. “Patientia” is not just an album; it’s a journey of exploration and innovation that leaves a lasting impression.

Anne-Sophie Mutter presents a captivating reimagining of Brahms’ “Double Concerto” in A minor, featuring cellist Pablo Ferrández and the Czech Philharmonic, conducted by Manfred Honeck. Mutter enthusiasts might recall her previous recording of the same piece in the ’80s with Antonio Meneses and under the baton of Karajan with the Berlin Philharmonic. The album doesn’t stop at Brahms, also including Clara Schumann’s G minor piano trio with Mutter’s long-time chamber partner, Lambert Orkis.

In the realm of Brahms, intensity reigns supreme, extending even to the more subdued passages. The initial cello cadenza demands moments of musical conflict and struggle, attributes that Ferrández masterfully conveys. His nuanced vibratos infuse tenderness into his solos, creating achingly delicate moments. Mutter seizes her own opportunities to shine, particularly noticeable in her swift transformation from piano to a bold forte at 1’51”. The new interpretation adds a raw and poignant edge to the softer moments, setting it apart from her earlier rendition.

The third movement emerges as the pinnacle of the concerto. Ferrández’s bow mastery offers two distinct perspectives to his solo: a blend of resonance and buoyancy followed by a supple and satisfying sostenuto in legato passages. His slightly quicker tempo adds a dance-like quality to the theme, complemented by the smoother timbre of his cello compared to Meneses. Mutter’s entrance echoes the same material, highlighting her unique artistic personality. Both performers showcase meticulous attention to the composer’s textures and abrupt shifts in character.

Conductor Manfred Honeck seizes the orchestral interlude to sustain the momentum set by Mutter, infusing an almost urgent ferocity with string pushes that powerfully energize the movement. This fervor not only unifies the movement but also elevates the enthusiasm of the soloists. Ferrández could have offered a more distinct arrival in terms of color at the A major section, yet his performance maintains an engaging energy.

The album’s second half features Clara Schumann’s G minor trio with pianist Lambert Orkis. This segment falls slightly short of the first. The Allegro Moderato possesses dramatic and poignant elements inherent to Romantic compositions; however, more vibrant contrast and assertiveness are needed. Lyrical moments lack the required charm, partly due to a piano part that occasionally feels matter-of-fact. The slow third movement (Andante) fares better, with Mutter crafting beautiful lines and utilizing gradients of vibrato for an expressive touch.

While the sound engineering balances clarity with the two soloists’ presence in Brahms, excessive reverb slightly diminishes the ensemble’s power—a disappointment given the performance’s infectious energy. A few minor flaws do not detract from the overall enjoyable experience, particularly in the Brahms compositions. Anne-Sophie Mutter’s revisitation of the “Double Concerto” offers a fresh and emotionally resonant perspective, complemented by Pablo Ferrández’s skillful cello work and the vibrant collaboration of the Czech Philharmonic under Manfred Honeck’s baton.