tag:blogger.com,1999:blog-10680113.post6757499877155852656..comments2024-03-23T11:40:13.092-05:00Comments on Musical Assumptions: Classical BarbraElaine Finehttp://www.blogger.com/profile/14248422399226824168noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-10680113.post-28972758315411613342014-06-29T16:43:09.048-05:002014-06-29T16:43:09.048-05:00Thank you for your review. I don't agree on ma...Thank you for your review. I don't agree on many things: First the weirdest interpretations are IMO the two Schubert Lieder (wisely not to put them on the original album). Barbra lacks the expressiveness that is needed for Schubert Lieder.<br /><br />Vocally I adore this album. As you said the arrangements were slightly changed to meet Streisand's pitch (which is probably more a mezzo than a soprano). But what she does with it is simply magical. She creates a whole new world of meanings and imaginations. Her voice sounds purer than on any of her other recordings and her French and Italian is almost perfect. As a German native speaker I must say that the German spelling lacks its clarity and accuracy. <br /><br />Despite I adore "Verschwiege Liebe". I don't know what you mean when you wrote that the piano arrangement is odd?! Same goes for Schumann's "Mondnacht". In Trutina is so ethereal and a pure delight listening. Also the "new" song "I Loved You" distinguishes itself through simplicity and deep sadness. There is very much to adore on this album when you lay down your classical trained ears and let it just happen! :)Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-10680113.post-72370188543247387182013-02-07T02:52:31.500-06:002013-02-07T02:52:31.500-06:00You might be interested in Glenn Gould's revie...You might be interested in Glenn Gould's review of the same recording:<br /><br />http://barbra-archives.com/bjs_library/70s/high_fidelity_1976.htmlSeanhttp://contrapuntalism.wordpress.comnoreply@blogger.com