German Opera Scenes and Arias
Works by R Strauss, Beethoven, Weber & Korngold
Malin Byström (soprano); Royal Stockholm Philharmonic Orchestra/Thomas Søndergård
BIS BIS2775 59 mins
Imagine this: a fearless hochdramatische soprano with a voice like burnished steel, ringing top notes and a plangent lyricism.
Malin Byström sings arias and scenes from the German repertoire with effortless ease. Skill too: crisp diction and unforced tone combine with power and vocal dexterity to great effect. In ‘Zweite Brautnacht’ from Richard Strauss’s Die ägyptische Helena, Byström is every centimetre the triumphant bride with that silvery tone that Strauss yearned for in his sopranos. While in Agathe’s recitative and aria ‘Wie nahet mir der Schlummer’ from Weber’s Der Freischütz, there is scrupulous attention to detail before sustained soft singing turns the aria ‘Leise Leise’ into what it ought to be – a heartfelt prayer.
'Her final number is chilling'
Malin Byström lives her characters. She is steely of purpose as Beethoven’s Leonore in ‘Abscheulicher’ – pity Don Pizarro. And if she isn’t quite ‘knowing’ enough as the Countess in the final scene from Strauss’s Capriccio, that may be because the orchestra threatens to overwhelm her as much as her own feelings.
But Byström has the complete measure of Strauss’s Salome. Her final number is chilling; ripely sensual as she gazes at the head of Jokanaan, by the end the Prinzessin von Judäa is completely unhinged. Thomas Søndergård and the Royal Stockholm Philharmonic are with her every step of the way to madness.
With the single exception of Capriccio, the balance between soloist and orchestra is admirable. And there’s refulgent horns in the Beethoven and a cacophonous tutti to send Salome on her way.
