I'm not sure I agree 
                with web-based texts and translations. 
                Print them out, it's ungainly; sit with 
                them on the screen, the screen better 
                be in the best place so one can enjoy 
                the recording quality. You can't win. 
              
 
              
Thomas Bauer and Uta 
                Hielscher are regular partners, apparently, 
                yet there is an imbalance. Hielscher 
                is more alive to the music's nuances 
                than Bauer. 
              
 
              
The programme is a 
                brave one with such famous fare on offer. 
                The Op. 24 Liederkreis sets the 
                scene. The recording itself is rather 
                close, with a touch too much added reverb. 
                The interpretation rarely takes one 
                close to the heart of Schumann; best 
                are the first song - delicate, with 
                care from both interpreters - and the 
                penultimate: the short, 'Anfangswollt' 
                ich fast verzagen'. A shame that the 
                final Lied, 'Mit Myrthen und Rosen' 
                fails to conclude the cycle convincingly, 
                despite both parties' best efforts. 
              
              
 
              
              
Der arme Peter 
                works much better - flowing nicely, 
                with a lovely, delicate piano. Belsazar 
                acts as dramatic contrast. The 'horn 
                figures' in the piano's left-hand are 
                superbly evocative. This is the best 
                performance so far, and yet there is 
                a problem still in that some of the 
                range seems too low for Bauer's baritone, 
                a setback that is to return in Dichterliebe's 
                finale lied. 
              
 
              
No shortage of great 
                interpreters for Schumann's Op. 48, 
                so a performance that is merely good, 
                even at this price, really has no place. 
                There are many effective and affective 
                moments here, yet little sense of the 
                greatness of this music. Furthermore, 
                the more the cycle progressed the more 
                I found myself listening to Hielscher's 
                piano playing, almost to the extent 
                at times of blocking out the voice. 
                Hielscher provides many moments of magic 
                - try the cheeky piano postlude to the 
                penultimate lied as but one example 
                - but where is a pianist in this repertoire 
                without her soloist? 
              
 
              
This is hardly a meeting 
                of equals, then, and very difficult 
                to recommend despite Hielscher's evident 
                musicality. 
              
 
              
Colin Clarke 
                 
              
Gwyn 
                Parry Jones had a similar view in 
                his review but Christopher 
                Fifield found more to enjoy.