The young soprano
Fatma Said
created quite a sensation with her debut album, which included Egyptian material as well as the likes of
Ravel
's
Shéhérazade
. The creamy, floating voice has inspired all kinds of similes in text, but the best way to get an idea is to sample
Schubert
Ständchen
, from
Schwanengesang, D. 957
, and just be swept away. To a degree, the test of
Said
's standing power may be found here; on her earlier albums, one had the option of reacting to the exoticism of it all, but here,
offers a straight recital of German lieder. Not that this is unfamiliar terrain for her; she is based partly in Berlin and came to German song early on. There is no theme or narrative, just songs that
has as personal favorites, albeit ones arranged into a musically convincing sequence. However, this sequence is part of the key here;
does not simply rely on luminous vocal beauty, although there is certainly plenty of that. Within the framework of mainstream 19th century German Romantic song -- it is all
,
Schumann
, and the two Mendelssohns -- she introduces quite a variety of textures. A look at the tracklist will reveal some perennials, but there are some unexpected choices, such as
Brahms
'
Ophelia-Lieder, WoO 22
, songs written for a production of
Shakespeare
's Hamlet and later given simple piano accompaniments.
alternates effortlessly among pure lyricism, more dramatic, longer narrative songs, and the rather spooky
Ophelia songs
, which aren't really common items. She can do it all, and one awaits rather breathlessly what is coming next. This album made classical best-seller charts in early 2025. ~ James Manheim