Scandinavian Songs/Katarina Karnéus at the Barber Institute

Jan 30 2009 By Maggie Cotton

This intriguing recital by Swedish mezzo-soprano Katarina Karnéus anticipated the Barber Institute’s forthcoming exhibition of landscapes from Stockholm’s National Gallery.

Karnéus, winner of the Cardiff Singer of the World competition in 1995, intrigued the attentive audience with expressive and powerful interpretations of Grieg’s songs – all written for his wife – her voice rich in all areas of her wide range.

The burbling accompaniments inevitable for northern scenes were sensitively matched by pianist Joseph Middleton, never underplaying any truly dramatic moments: a genuine partnership of musical talent. Texts by Ibsen hinted at the many similarities between the Norwegian and English languages, totally fascinating when woven into song by such a consummate artist.

This well-balanced recital was full of contrasts, thankfully not all Scandinavian darkness. Delightful Swedish humour was portrayed with lightness and smiles in turn-of-the-century Ture Rangström’s The Girl Under the New Moon, followed by Gösta Nystroem (1890-1966) covering all emotions from the no-holds-barred, angst-ridden fortissimo piano in Soul and Landscape to a truly delicate interpretation of A Wish.

I well remember being made aware that Sibelius’s music often follows the gentle speech patterns of the language, no more so than in some of tonight’s songs. Most of his hundreds of songs were written in Swedish, therefore Finnish offerings were of special interest.

Tender harp-like tremolos accompany the gentle susurrations of Evening, followed by an equally imaginative Reeds, Reeds, Whisper, with well-placed vocal entries after dramatic pauses adding poignancy to the poetry of the words. Three generous encores rounded off an unusual and delightful evening.