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Göran Forsling
MusicWeb International, July 2012

…let me get straight to the point: This is a damn good disc! Tilling is a singer whose voice can’t be mistaken for either Schwarzkopf or Ameling…Just listen to Suleika II (tr. 5). It is so sensitive, so beautiful and her diminuendo on the last note is lovely—and feels quite natural. She doesn’t over-do the effect.

There is lovely singing throughout…Heimliches Lieben (tr. 9), a relative rarity, became a new favourite after hearing this delightful reading. I couldn’t resist playing it twice again before I continued listening. Frühlingsglaube (tr. 11) is sung so softly and inwardly, almost hesitatingly—and to great effect. The two final songs are heard in masterly interpretations. Totengräber’s Heimweh (tr. 14) was for me long synonymous with Fischer-Dieskau…It seems designed for a baritone voice but remarkably Tilling darkens her voice and reaches the same depth as F-D. The final stanza is immensely moving. So is Litanei (tr. 15), sung with skinless vulnerability.

The recording balance is what one expects to hear in a good chamber music hall. Horst A. Scholz manages to squeeze in lots of illuminating information in the relatively limited space offered by the booklet. One further detail: BIS cleverly leaves generous silences between each song, enabling the listener time to digest the first song and prepare for the next.

A superb Schubert recital in every respect. More, please, BIS! © 2012 MusicWeb International Read complete review




Richard Wigmore
Gramophone, July 2012

The al fresco exuberance of ‘Bei dir allein’ gets this recital off to a delectable start: Camilla Tilling’s vernal tone is fresh and smiling, her phrasing both shapely and feurig, as Schubert demands, her response to mood and harmony vivid, as with the new, tenderly softened colour after the magical modulation at ‘weht mir die Luft’. Then in ‘Delphine’ Tilling catches perfectly the girl’s mingled bewilderment and erotic excitement, rising effortlessly to the climactic top C that deters many sopranos from tackling this underrated song.

After these opening delights, Tilling and Paul Rivinius…give predictably captivating performances of the two ‘Suleika’ songs. The blissful…languor at the end of the first can rarely have sounded lovelier, while Tilling’s tonal radiance and free-soaring top notes are priceless assets in the second. ‘Frühlingsglaube’ is all dreamy melancholy…But Tilling brings a luminous grace to the serene bel canto lines of ‘Heimliches Lieben’…and characterises the lover in ‘Geheimes’ with charm and point…Tilling beautifully catches the varying shades of ecstatic agitation in ‘Gretchen’ and the Gothic eeriness of ‘Der Zwerg’…Outside normal soprano territory, ‘Totengräbers Heimweh’…is profoundly moving. After this, Tilling’s touching simplicity in ‘Litanei’, founded on an easeful legato flow, sets the seal on a Schubert recital of rare pedigree. © 2012 Gramophone Read complete review on Gramophone






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5:12:16 AM, 20 April 2014
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