(5 / 5)

My first encounter with Norwegian soprano Lise Davidsen was back in 2023 with the Royal Opera’s Tannhäuser. Even with a ropey set of singers, Davidsen shone through proving to be the star of the night. And a star she remains, after her breakout Isolde, opera houses and concert halls are fighting over her.

Even in Wigmore a semi-intimate space, Davidsen in this total set of Schubert reached heights not heard for some time. Audiences and critics really seem to love her, everything is in place. It’s the mood of her voice, perfect for Wagner and German lieder too. It is rare to hear such a thing today. The word effortless has been said a lot and it’s true. Gliding patters, deeply affectionate phrasing and her immaculate pacing are many standout skills of Davidsen. I’m already hearing Kundry, Elsa and Senta, adding to more perfect Wagner characteristics.

These many songs from Schuburt prove his might as a composer. It is one of music’s great losses to have had him die so young. Modesty, reflection, heartbreak, faith, glory and resignation are many of his whirlpool themes, thanks to Goethe and other sharp writers. ‘Gretchen am Spinnrade’ shes the character from Faust linger over love and lose focus on her spinning wheel, the piano cleverly mimicking the later. I should also say on piano, James Baillieu is a worthy contender for these treks, youthful and highly coloured.

The ‘Death and the Maiden’ song would naturally nod to the famous string Quartet and doesn’t quite set the tone for that, but is serious in its dread. ‘Lachen und Weinen’ asks the question of why laughter in the day and tears at night? ‘Der blinder Knabe’ details a young boy, though blind finds contentment in life anyway. The famous and perhaps over done ‘Erlkönig’ is a stirring as ever, though I may have seen it acted better. A father dismisses his son’s vision of a spirit whilst they are on horseback, leading to a stinging finale.

‘Erlkönig’ remains one of Schubert most famous leider, certainly one of his masterpieces. Hammering piano, galloping horses, disturbing supernatural vocal lines and a real sense of the Gothically operatic. ‘Die junge Nonne’ remains holy with further opera and a resounding religious fever. ‘Am Tage allergy Seelen’ was the send off (we were soon gifted two marvellous encores) in what proved to be a a highlight of the year. Lise Davidsen is on the rise and rightfully so!

Listen on BBC Sounds for 30 days after airing live and to be released on Decca label in the future.