Yoram Chaiter is a physician, cancer researcher and bass
singer. He was born in Beregovo,
Soviet Union) in 1964 and immigrated to Israel in 1973. His
medical CV is long and impressive, he has many publications to
his credit and has taken part as lecturer at a great number of
conferences. Parallel with these activities he has also pursued
a career as singer, as concert singer, recitalist and opera singer
and he has also made several recordings. Among other things he
premiered a song-cycle by Israeli composer Erwin Junger in 1993.
His voice is more bass-baritone than true bass, but he has some
black low notes at his disposal while at the same time his top
is free and ringing. The tone is rather gritty in the middle
register but he has a good legato and can fine down his rather
voluminous instrument to chamber size without losing quality.
His pianissimo singing is often exquisite. What is fully clear
from the beginning of this taxing recital is that he knows what
he is doing. He knows the songs, he knows what he wants to express
through them. Everything seems integrated: no false emotions,
no mere skimming the surface.
The group of Rachmaninov songs, especially, also shows what a
brilliant pianist Irena Zelikson-Litchen is. There is clarity
in her playing and she is flexible. As for Yoram Chaiter his
dramatic intensity can be heard to good effect in He has taken
everything from me (tr. 3), Don’t believe, my friend (tr.
7) and Yesterday we met (tr. 9), while his sensitivity
and fine nuances reap laurels in Fragment from A. Musset (tr.
5). His plangent tone catches well the melancholy of many of
these songs, though the grittiness robs some of them of the nobility
that is inherent in the music.
Darkness and melancholy also reigns in several of the Brahms
songs, and Chaiter has the measure of them also. He has the same
dignity for Feldeinsamkeit that is so apparent in Hans
Hotter’s recording from 1951 and also for Sapphische
Ode, where again Hotter comes to mind. But he can also muster
the lightness and inwardness for Wiegenlied, which is
sung with aching beauty.
Also the six Schubert songs are basically dark and again he shows
great sensitivity. Der Leiermann is a reading that goes
straight to my shortlist for that song, but all the other are
also well considered and concienciously interpreted.
The recording can’t be faulted and the booklet has short
biographies on the composers and the artists.
The general impression of the well filled disc is of darkness
and gloom - which is no criticism, only a factuality - and the
best way of enjoying this disc is to savour a handful of songs
at a time. The grittiness and some occasional wobbling also tends
to jar on the ear after a while. Other singers may have more
beautiful voices, but this is without doubt Lieder interpretation
of the highest order.
Sergei RACHMANINOV (1873- 1943)
1. The Dream (Son) [1:27]
2. How peaceful (Zdes’ khoroso) [1:59]
3. He has taken everything from me (Fs’o otn’al min’a) [0:48]
4. Cease thy singing, maiden fair… Ne poj, krasavitsa, pri mne …[4:05]
5. Fragment from A. Musset Otryvok iz A. Musset)[2:06]
6. Morning (Utro)[2:16]
7. Don’t believe, my friend (Ne ver’ mne drug, kogda v izbytke …)[1:48]
8. Yesterday we met (Vchera my fstretilis’)[2:55]
9. Everything is passing (Prokhodit vse)[1:50]
10. For long in love (Davno v ljubvi)[1:17]
11. In the mysterious silence of the night (V molchan’ji nichi tajnaj) [3:02]
12. Child, you are beautiful like a flower (Ditja! Kak cvetok ty prekrasna)[1:56]
13. She is as fair as day (Ona kak polden’ harasha)[2:27]
14. Oh no, I beg you, do not leave! (O, net, mal’u, nui uhadi!)[2:08]
Johannes BRAHMS (1833 - 1897)
15. Die Mainacht [3:01]
16. Wiegenlied [1:51
17. O wüßt ich doch den Weg zurück [3:38]
18. O kühler Wald [2:12]
19. Feldeinsamkeit [2:56]
20. Sapphische Ode [2:19]
21. Wie Melodien zieht es mir [2:14]
22. Verrat [4:34]
Franz SCHUBERT (1797 - 1828)
23. Der Leiermann [4:02]
24. Aufenthalt [3:55]
25. Der Doppelgänger [4:25]
26. Der Wanderer D.493 [5:15]
27. Der Tod und das Mädchen [2:39]
28. An die Musik [2:32]