LISZT OCHESTRAL SONGS – THOMAS HAMPSON

Martin Haselböck’s deep-rooted affinity for Franz Liszt’s compositions is once again illuminated in his latest album “Liszt: Orchestral Songs.” Alongside his exceptional ensemble, the Orchester Wiener Akademie, Haselböck introduces a period-informed interpretation that both reinvigorates familiar works and unearths hidden gems. This collection not only showcases his prowess as a seasoned Lisztian but also highlights the richness of Liszt’s lesser-known orchestral songs.

The album’s standout feature is undoubtedly the inclusion of three premiere recordings. One such gem is “Die Vätergruft,” orchestrated during Liszt’s final year and unveiled in London shortly before his passing. The orchestration vividly paints a sepulchral atmosphere, with eerie percussion, haunting trombones, and triumphant trumpets interweaving to encapsulate the protagonist’s poignant surrender to death’s embrace. Equally captivating premieres are “Weimars Toten,” a centenary tribute to Goethe, and “Der Titan,” enriched by the addition of a male voice chorus led by the commanding Tomasz Konienczny.

Among the selections from 1860 are Liszt’s arrangements of Schubert’s songs, coupled with three of his own compositions. These interpretations present a mixed palette. While “Die junge Nonne” occasionally plods in its orchestral storm, “Erlkönig” propels the listener into a tempestuous journey with Thomas Hampson delivering a commanding performance that preserves the child’s voice from caricature. The most triumphant of these renditions is “Der Doppelgänger,” cocooned in the melancholic shades of lower strings, a masterful display of orchestral finesse.

The album unfolds with Liszt’s own “Die Lorelei,” entrancingly brought to life by mezzo Stephane Houtzeel’s velvety tones. Haselböck masterfully navigates Liszt’s intricate orchestration, building to a climactic crescendo that mirrors the churning waves of the Lorelei’s lore. Thomas Hampson dominates the majority of the songs, showcasing his compelling storytelling through exemplary diction and an authoritative command of the material. While the vocal execution occasionally exhibits unevenness, Hampson’s profound connection with the material remains undeniable.

In “Liszt: Orchestral Songs,” Martin Haselböck and the Orchester Wiener Akademie have presented a meticulously crafted tribute to Franz Liszt’s diverse musical palette. The album not only unearths forgotten compositions but also reinvigorates well-known works with a period-informed approach. The premiere recordings, in particular, grant listeners a glimpse into Liszt’s multifaceted genius. Despite minor vocal inconsistencies, the album successfully captures the emotional essence and historical context of Liszt’s orchestral songs, solidifying Haselböck’s position as a notable interpreter of this rich repertoire.