Records: Sergei Rachmaninov's Songs

By Andrew Guenzer

Sergei Rachmani-nov is best known for a few over-recorded war-horses, such as his Piano Concertos 2 and 3 (the latter was featured in the movie Shine), and his Second Symphony. Yet the Russian master was a prolific composer, writing in nearly every genre. Beyond his best-known works, much of his catalog is forgotten today. This is our great loss, as there are some truly sublime gems in that unknown canon. This disc gives credence to that claim with its selection of 24 short songs which hold up to the most delicate and tender lieder of Mahler, Wolf, and Brahms.

Unfortunately for Rachmaninov and the listener, this recording does a horrid injustice to such great music; the voice and artistry of soprano Nina Rautio are totally unfit for the task before her. Rautio is an emerging opera star in Europe, where she has performed with such notables as Lorin Maazel and Luciano Pavarotti. Sadly, her impressive experience has seemingly left her unprepared for anything outside of opera-house belting. Rautio's singing is expansive and powerful, perfect for any dramatic prima donna, but totally out of place in the delicate and sensitive music of these chamber songs. Rautio sounds like she is singing in a 3,000-seat theater rather than performing intimate chamber music; it is clear that she is horribly out of her element, as her performances of gentle and subtle music sound at times as if she is beating a small woodland animal with a can of Spam. For example, in "Lilacs" Op. 8 no. 4, the music is relaxed and mellow, yet Rautio insists on hitting every high note with an operatic flourish, each of which sounds more like a garish squawk than a dramatic accent. In "Spring Waters" Op. 14 no. 11, the undulating texture and fluid line evoke the energy and ephemerality of a flowing stream as well as Debussy or Ravel ever did, but Rautio ruins this air by insisting on emphatically pounding out every note. In nearly every song, Rautio shows an inability for finesse and delicacy, and a lack of general understanding for the subtleties of chamber songs. The songs on this disc are poignant and highly moving, and it is a great shame that they are so mishandled by the singer.

The redeeming feature of the disc is the performance of pianist Semion Skigin, who plays with tender understanding throughout. The true worth and promise of this music shows in his playing, and my only hope is that these songs will be recorded by a singer with a more suitable voice and greater artistry. (BMG)

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