Earlier this month, soprano Katharina Konradi and pianist Daniel Heide unveiled their latest album, marking the third volume in their complete recordings of Franz Liszt‘s art songs. This new project focuses solely on Liszt’s vocal settings of French poems, a unique aspect given the composer’s mastery of the French language alongside German.
Konradi, who hails from Kyrgyzstan, is notable for being the first soprano from her country to achieve international acclaim as a Lied, concert, and opera singer. Her impressive career includes performances at prestigious venues such as the Bayerische Staatsoper, Wiener Staatsoper, and Opernhaus Zürich, as well as recitals at Wigmore Hall and Konzerthaus Wien. She has also collaborated with renowned orchestras like the Berlin Philharmonic and Munich Philharmonic.
In an interview with OperaWire, Konradi discussed the inspiration behind their new album, stating, “The inspiration came from Daniel Heide, who has already recorded two of Liszt’s albums and plans to record several more songs by Liszt. He knew that I was totally obsessed with French, so he asked me to record all the French songs by Liszt.”
Liszt’s vocal music, while not widely recognized, resonated deeply with Konradi. She noted, “Indeed, Liszt’s songs are not that popular, and his songs are not a part of the standard recital repertoire. When I started to learn them, however, I discovered their huge emotional range and saw for the first time in my life that Liszt has an incredible sense for drama in his vocal compositions.” She likened performing a Liszt song to experiencing “an opera in one song,” underscoring the dramatic depth present in his work.
The recording process presented its own challenges, particularly in maintaining vocal freshness. “The biggest challenge was keeping my voice fresh during the whole recording period,” Konradi explained. “Liszt requires total dedication to emotions and a creative approach to the voice regarding his dynamics and phrasing.” She emphasized that emotional engagement is crucial, stating, “When I feel big emotions, I am driven to give all the colors of my voice. This could be dangerous when you have to sing six or seven hours per day in front of the microphone!”
Among her favorite pieces from the album are “Élégie. En ces lieux,” “Oh! quand je dors” (the second version), and “Quand tu chantes bercée.” Konradi expressed particular fondness for an earlier version of “Oh! quand je dors,” describing it as having “rough edges” that make it more interesting in terms of interpretation compared to the more famous rendition.
Looking ahead, Konradi expressed enthusiasm about the possibility of touring with their album, which she refers to as “Cycle Imaginaire.” She believes the music possesses a profound ability to inspire and connect with audiences. “I have had the experience performing a group of songs by Liszt, and the audience was absolutely thrilled about his music,” she stated. “This ‘Cycle Imaginaire’ enriches our recital world, and it deserves to be known around the world.”
Konradi also reflected on her collaboration with Heide, which began in 2017. “We have performed many recitals together, and this album is our second recording. We recorded ‘Liebende’ songs by Strauss, Mozart, and Schubert during the pandemic.” She praised Heide for teaching her the value of spontaneity in performance. “Recital singing could be something agile and spontaneous, and you can’t fix everything in rehearsals. Sometimes we create the music during our performances and follow each other in this playful way.”
As for future projects, Konradi is eager to continue recording. “Recording is one of my favorite parts of this profession. I try to make one new recording per year. I love working in the studio with a microphone,” she said, hinting at a new project set for next year, though details remain under wraps for now.
With the release of this album, Konradi and Heide continue to shine a light on the lesser-known aspects of Liszt’s work, bringing fresh interpretations that resonate with both seasoned aficionados and new listeners alike.
