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We are so used to seeing Magdalena Kožená on the concert platform, often in the company of her husband, conductor Simon Rattle, that it is easy to forget her long-standing commitment to song recitals. Czech song has naturally been a special interest, but here she turns her attention to French mélodies.
L’extase pairs Debussy and Messiaen. It is fascinating how very different the three Debussy song cycles — Trois Chansons de Bilitis, Cinq poèmes de Baudelaire and Ariettes oubliées — are in mood. The lush and romantic Baudelaire settings reach out in their heady harmonies to Messiaen, whose Poèmes pour Mi (only the second book) end the programme.
Kožená is partnered by a distinguished colleague, Mitsuko Uchida. In her solo recitals, the pianist has proved herself a highly sensitive interpreter of French music, and so she is here, precise, delicate and providing a sensuous halo of sound through generous use of the sustaining pedal.
The three Debussy cycles shine thanks to the luminous sheen of Kožená’s voice. Compared to some other performances on record, Kožená and Uchida give themselves more time, allowing a potent atmosphere to build. Kožená’s French is good, though native French singers tend to move more quickly, so that the poems speak in a more conversational way.
Messiaen had a Wagnerian soprano for the premiere of his Poèmes pour Mi and Kožená is not that, but her mezzo quality comes into play, providing depth and variety of tone colours. There is much beauty here and no little sensitivity.
★★★★☆
‘L’extase’ is released by Pentatone
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