{"id":90769,"date":"2024-08-02T00:00:36","date_gmt":"2024-08-02T04:00:36","guid":{"rendered":"https:\/\/operawire.com\/?p=90769"},"modified":"2024-08-01T12:56:41","modified_gmt":"2024-08-01T16:56:41","slug":"cd-review-konstantin-krimmels-mythos","status":"publish","type":"post","link":"https:\/\/operawire.com\/cd-review-konstantin-krimmels-mythos\/","title":{"rendered":"CD Review: Konstantin Krimmel\u2019s ‘Mythos’"},"content":{"rendered":"

 <\/p>\n

If it were not for Franz Schubert, the incommensurably prolific Carl Loewe would be the undisputed champion of 19th century art songs. Older, by just two months, Loewe epitomizes Biedermeier aesthetics with their charming naivety and quasi-lackadaisical trust in God. They materialize in apolitical narratives, and the cultivation of the private sphere – from tales of old to homely scenes.<\/p>\n

In pairing the composers, Konstantin Krimmel<\/a> gives the best of both worlds, the rhapsodic elan of Carl Loewe and Schubert\u2019s melodic perspicacity. \u201cMythos,\u201d as the new album is titled, is a complementary survey of their art, narrowed down to its most elegiac. It is steeped in Krimmel\u2019s fascination with the mythical, and Romanticism\u2019s very own interpretation of death, from Schubert\u2019s \u201cErlk\u00f6nig\u201d to Carl Loewe\u2019s \u201cS\u00fc\u00df<\/span>es Begr\u00e4bnis\u201d and the ever so melancholy \u201cDie Uhr\u201d.<\/p>\n

Near-Tenoral Luster<\/b><\/h3>\n

From the outset, Krimmel presents himself as a very nuanced interpreter, keen on delivering philological meaning through his voice\u2019s natural ability to shade and lighten up. He has an innate capacity to move into near-tenoral clarity, for instance in Schubert\u2019s \u201cDer K\u00f6nig in Thule,\u201d or the equally sensitive \u201cS\u00fc\u00df<\/span>es Begr\u00e4bnis,\u201d based on a text by Friedrich R\u00fcckert.<\/p>\n

Yet Krimmel\u2019s appeal does not just lie with his relatively slender vocal physiognomy; it mostly relates to his incomparably sympathetic interpretations which are far removed from the intellectualist approach of some of his most illustrious predecessors. Notably, he is able to infuse every line with some nuance of deeply felt emotion.<\/p>\n

In \u201cMeerfahrt,\u201d Krimmel conjures the funereal image of the sunken city, with mournful empathy and by pairing the fluidity of his lines with utmost delicacy of tone. The ascending phrase of \u201cdeinem Sarg aus Krystall\u201d is perhaps more powerful than on any renditions by his peers, including Trekel\u2019s recording for CPO\u2019s complete edition set of Loewe\u2019s ballads and Lieder.<\/p>\n

Kindred Spirits<\/b><\/h3>\n

The baritone is accompanied on the piano by Ammiel Bushakevitz<\/a> whose occasionally willful tempi situate \u201cMythos\u201d at opposite ends of Roger Vignoles and Malcolm Martineau, viscerally engaged in their respective recordings of both Schubert and Loewe. Martineau\u2019s \u201cDer K\u00f6nig in Thule\u201d only takes two minutes and 44 seconds; Bushakevitz clocks in at just under four minutes. It puts Krimmel under the magnifying lens – perhaps unjustly so – as one has to concede when pressed that Florian Boesch (with Martineau) executes the score\u2019s intermittently short trills more surgically, if not with higher expressivity.<\/p>\n

Similarly, Vignoles has the interpretive edge in \u201cDie Uhr\u201d. He is faster than Bushakevitz by some 50 seconds and subtly builds on its constitutive metaphor – the beating of the heart – by varying the rhythms accordingly. Bushakevitz may be phrasing too uniformly, and it is a shortcoming at best that neither he nor Krimmel pause in-between the characteristically onomatopoeic \u201cdrohte zu stocken ihr Lauf\u201d (the clock is slowing) and \u201cso zog der Meister\u2026 sie wieder auf\u201d (it is wound again).<\/p>\n

Still, \u201cMythos\u201d is a splendid recital whose minor flaws separate Krimmel and his pianist\u2019s delightful performance from nothing but the ever so elusive state of perfection. For Schubert\u2019s Lieder, there are many alternatives, different in style and with more emphasis perhaps on the intellectualist tradition of Schwarzkopf or Fischer-Dieskau.<\/p>\n

Yet Loewe\u2019s output remains something of a rarity, and having a supremely curated rendition of the shamefully neglected \u201cMeerfahrt\u201d makes the Alpha label\u2019s production already worth a listen or two. Krimmel and Carl Loewe, one may find, are kindred spirits!<\/p>\n","protected":false},"excerpt":{"rendered":"

  If it were not for Franz Schubert, the incommensurably prolific Carl Loewe would be the undisputed champion of 19th century art songs. Older, by just two months, Loewe epitomizes Biedermeier aesthetics with their charming naivety and quasi-lackadaisical trust in God. They materialize in apolitical narratives, and the cultivation of the private sphere – from tales of old to homely {…}<\/p>\n","protected":false},"author":74,"featured_media":90856,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[72,8],"tags":[23338,6098,23337],"class_list":["post-90769","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-dvd-and-cd-reviews","category-in-review","tag-ammiel-bushakevitz","tag-konstantin-krimmel","tag-mythos"],"acf":[],"yoast_head":"\nCD Review: Konstantin Krimmel\u2019s 'Mythos' - OperaWire<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/operawire.com\/cd-review-konstantin-krimmels-mythos\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"CD Review: Konstantin Krimmel\u2019s 'Mythos' - OperaWire\" \/>\n<meta property=\"og:description\" content=\"  If it were not for Franz Schubert, the incommensurably prolific Carl Loewe would be the undisputed champion of 19th century art songs. 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