Justus Zeyen / Recensies

We enjoyed the Austrian baritone Florian Boesch (1971), -with Justus Zeyen (1963) at the piano-, resident artist of the Cycle this season, who will offer three recitals throughout the season, and which was debutant in the Cycle in the 2010-2011 season. The recital's design featured a wide selection of songs by Franz Schubert and Hugo Wolf - their Italienisches Liederbuch (1892-1896) - along with a less frequent repertoire around Frank Martin's Sechs Monologe aus "Jedermann", in a historical zoom line that would go from the past to the present so that you can see how the Lied has evolved stylistically. Approximately seventy minutes of recital, without pauses, in which we were able to enjoy -especially in Schubert-, Florian Boesch's vocal media, executing quality bass-ductile and bronze-, which adequately communicated text and singing from stormy environments of the nature beautifully exposed by Zeyen's piano. This group of songs, that oscillate between the unleashed of Waldesnacht [ Night in the forest ], the calm of Im Frühling [ In the spring ] and the introspective of Das Heimweh [ Nostalgia] were adequately exposed in the mid and low range, although we do not understand that in the moments in which the high range is required, the singer would limit himself to intermittently humming with open and fluffed sounds - it is not justified even thinking that the The resource was merely expressive, forgetting that the vocal technique can also be put at the service of expressiveness, without losing the purest Liederista style. Herbst [ Autumn ] was the absolute credit of Zeyen, with that continuous sound mesh based on a measured pedal that only he knows how to synthesize to recreate a true autumn atmosphere.