Wagner: Wesendonck Lieder
Mahler: Rückert Lieder
Elīna Garanča (mezzo-soprano)
Christian Thielemann / Vienna Philharmonic (DG)
vs
Yvonne Minton (mezzo-soprano)
Pierre Boulez / London Symphony (Sony)
(scroll down for English review)
Garanča這張管弦歌曲集：華格納《威森當克歌曲集》及馬勒《律克歌曲集》是在20及21年的爾茲堡音樂節現場錄音，伙拍她的是蒂利文及維也納愛樂，他們三方又預定會在22年的音樂節再合作，曲目為布拉姆斯《女低音狂想曲》。
聽完這張碟覺得頗平凡，但又說不出究竟，然後無意發現Yvonne Minton和布烈茲都有一張曲目完全一樣的舊錄音，一聽就知Garanča的問題在哪兒。她唱得太「淺」，只等高音及大聲才願爆出來，但Minton在其餘地方都會力求聲音要不向外擴張，要不向內深挖的特質。Garanča還是專注歌劇好了，藝術歌曲不合她唱。（以下連結中，華格納的第三曲有畫面，不過不完整。）
Taken from live recordings of the 2020 and 2021 Salzburg Festival, Elīna Garanča partnered with Christian Thielemann on two sets of orchestral lieder. After a first listen, I knew I didn’t warm to this recording but I couldn’t say why. Then I came by Minton and Boulez’s recording of exacting the same programme and instantly I realized what’s wrong with Garanča. She simply waited for high or loud notes and basically delivered the rest with a very uninteresting singing. Minton, by contrast, dug deep into most notes and that’s what good singing should be. I think Garanča should just focus on opera and stay away from lieder.