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Robert A. Moore
American Record Guide, May 2012

…As with so many volumes in this project, Naxos gives you the chance to explore songs you’ll have trouble finding anywhere other than the more expensive Hyperion set—and that is its chief virtue…Sindram has a sumptuous voice, smooth legato technique, and strong interpretive skill… © 2012 American Record Guide Read complete review on American Record Guide online

Göran Forsling
MusicWeb International, September 2007

Perfect legato, concentrated tone, restraint balanced with tension; those are the first reactions to Daniela Sindram’s voice in the opening song of this disc. Even and spotless tone in the youthful Der Mondabend too, but here she opens up to a larger sound and she is not afraid of letting the vibrato widen to fine dramatic effect. In Bertas Lied in der Nacht she grades the nuances skilfully and after these three nightly poems she finds a lighter tone for Cora an die Sonne. As time goes on can detect a slight over-vibrancy in places – and doesn’t the voice glare uncomfortably in Die Blumensprache? On the other hand: isn’t she always expressive, singing off the text? And in An die Sonne and Lambertine, two lovely songs, how well she colours the voice. Two mezzo-sopranos from the not so distant past spring to mind: Brigitte Fassbaender, most of all, and Christa Ludwig. Aha, the reader thinks, no prizes for guessing who were her teachers. And right he/she is. Neither of these remarkable singers had any qualms about sacrificing tonal beauty when the expression required it and in later years we even learnt to accept some quite unbeautiful singing from Fassbaender.

No one can deny that Sindram has a vibrant voice at forte and above, but it is a controlled vibrato – and beautiful at that. In Blondel zu Marien, a remarkable song in itself with the Beethovenian piano introduction and the Bellinian vocal line, she finds a creamy tone to match the music. The rest of the programme is a string of pearls of well-judged phrasing and discreet stressing and pointing of words. In the few instances I could find alternative recordings she stands up well against such an expert Liedersinger as Irmgard Seefried – Das Lied im Grünen – but Seefried with many years of experience has a wider tonal palette. Imagining Fassbaender in some of the songs she would also have invested them with even more depth. I don’t say this to diminish the impact of Daniela Sindram’s readings – this disc belongs among the best in this series of those I have heard – but comparisons are part and parcel of this reviewing business and the mere fact that I pitch her against such formidable competition is proof enough that hers is an admirable achievement.  In most instances there is practically no competition, apart from the complete Hyperion series, of which I have a respectable number but far from all of them and, as it happens, none of these.

Not all of these songs are out of the top drawer but, as those who followed the Hyperion series and also those who have followed this Naxos series know, there is in almost every song something to admire and many of them are little gems.

No texts and translations, but they can be found on the web, and Ulrich Eisenlohr’s extensive notes are illuminating. That he is also a splendid accompanist, besides being the mastermind behind the whole project, need hardly be mentioned. Like Graham Johnson in the Hyperion series he has been doing a mammoth job.

The recorded sound is fully worthy of the musical excellence on display here.

Richard Gate
Limelight, June 2007

This is No. 23 in Naxos’ series of CDs which will contain all of Schubert’s songs; the third devoted to songs with texts by Schubert’s Austrian contemporaries. With the exception of Das Lied im Grunen, none of the songs are well-known. It was therefore surprising to find that almost all of them are of very high quality and well worth hearing. Particularly interesting are two songs about flowers—Die Blumensprache and Der Blumen Schmerz—the latter takes the unusual view that flowers resent being alive under the hot sun and would rather be dead. Naxos has selected the elite of today’s young German lieder singers. Daniela Sindram has an attractive voice and a secure technique. Moreover, she has the great talent, necessary in a lieder singer, of being able to create the right atmosphere for each song. Unusually for Schubert, three of the songs, Die Unterscheidung, Die Manner sint mechant and Das Echo, have humorous themes and Daniela Sindram is particularly successful at bringing out this element without resorting to vocal exaggerations.

David Denton
David's Review Corner, March 2007

Many accused Schubert of being less than selective in the poems he set to music, so much flooding from him that he was constantly looking for words to excite his senses. One group came from those around him with dilettante writers whose works never attracted major publishers, but who Schubert may have heard read at private gatherings. This third and final disc in the series, covering the works from these sources, contains two names, Silbert and Seidl who rose above that description, but most of the poets are long forgotten and in some instances unknown. Most of the songs are rarely performed but the disc is most attractive in its many moods from the dark Blondel zu Marien (Blondel to Mary) to the humorous Die Manner sind mechant (Men are Wicked). Yet the main attraction here is the German mezzo, Daniela Sindram who is now making a big name at the Bavarian State Opera. She brings that operatic feel to the story she is telling in each song, setting her performances apart from the norm. It is an instantly appealing voice that she uses with much artistry, every word shaded to meet the text. Ulrich Eisenlohr's accompaniments step up a gear from the previous discs to match the fluid way Sindram shapes phrases, while adding vision to the passages where Schubert used the instrument to set the scene. Though the words are available with translation on the Naxos website, I am sorry they are not provided with the disc, as here we have a singer who richly deserves such special treatment. By a large margin this is the jewel in Naxos's Schubert lieder series, and I hope they find much more for her to record. The balance and general sound quality is in the superlative class.

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