It would be nice to be able to enjoy the vocal artistry of Philip Langridge. Clearly, Langridge is a sensitive singer whose comprehension of the emotional and musical meaning of the songs he sings is as great as that of any singer of the last half century. But Langridge's vocal limitations -- an upper range that cracks, a tone that tends toward either grating or growling, an inflexible way with quick passages -- often get in the way of the enjoyment of his vocal artistry, and the result is a lot of wishful thinking on the ...
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It would be nice to be able to enjoy the vocal artistry of Philip Langridge. Clearly, Langridge is a sensitive singer whose comprehension of the emotional and musical meaning of the songs he sings is as great as that of any singer of the last half century. But Langridge's vocal limitations -- an upper range that cracks, a tone that tends toward either grating or growling, an inflexible way with quick passages -- often get in the way of the enjoyment of his vocal artistry, and the result is a lot of wishful thinking on the listener's part and only a little actual fulfillment on the singer's.In volume four of Hyperion's Schubert lieder edition, Langridge takes on some of the least of Schubert's early songs, his ballad Der Liedler (The Minstrel), eight of his 14 Körner songs, four of his Mayrhofer settings, Schlechta's Liebeslauchen (Serenade), and, as a sort of encore, Collin's affectionate send-up of one of his and Schubert's mutual friends, An Herrn Josef von Spaun, Assessor in Linz (To Mister Josef...
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