1. Si no fuera porque tus ojos tienen color de luna
2. Amor, amor, las nubes a la torre del cielo
3. No estés lejos de mí un sólo día, porque cómo
4. Ya eres mía. Reposa con tu sueño en mi sueño
5. Amor mío, si muero y tú no mueres

Lorraine Hunt Lieberson, mezzo soprano

Music by Peter Lieberson
Text by Pablo Neruda

Boston Symphony Orchestra
James Levine, conductor

Composer Peter Lieberson’s Neruda Songs, written for and performed by his late wife, the great mezzo-soprano Lorraine Hunt Lieberson are settings of poems by the Nobel Prize-winning Chilean poet Pablo Neruda. They were first heard on the East Coast Thanksgiving weekend 2005, with James Levine conducting the Boston Symphony in the orchestra’s acoustically renowned Symphony Hall. The November 26 performance was recorded, and was released by Nonesuch Records on December 19, 2006, marking the Boston Symphony’s first recording with Levine since he became music director.

“I discovered the love poems of Pablo Neruda by chance in the Albuquerque airport. The book had a pink cover and drew me in. As I glanced through the poems I immediately thought that I must set some of these for Lorraine,” the composer says. “Years later the opportunity came when the Los Angeles Philharmonic and the Boston Symphony Orchestra co-commissioned this piece from me, to be written specifically for Lorraine.”

Lieberson continues, “Each of the five poems that I set to music seemed to me to reflect a different face in love’s mirror. The first poem, ‘If your eyes were not the color of the moon,’ is pure appreciation of the beloved. The second, ‘Love, love, the clouds went up the tower of the sky like triumphant washerwomen,’ is joyful and also mysterious in its evocation of nature’s elements: fire, water, wind, and luminous space. The third poem, ‘Don’t go far off, not even for a day,’ reflects the anguish of love, the fear and pain of separation. The fourth poem, ‘And now you’re mine. Rest with your dream in my dream,’ is complex in its emotional tone. First there is the exultance of passion. Then, gentle, soothing words lead the beloved into the world of rest, sleep, and dream. Finally, the fifth poem, ‘My love, if I die and you don’t,’ is very sad and peaceful at the same time. There is the recognition that no matter how blessed one is with love, there will still be a time when we must part from those whom we cherish so much. I am so grateful for Neruda’s beautiful poetry, for although these poems were written to another, when I set them I was speaking directly to my own beloved, Lorraine.” ---nonesuch.com

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01. Ruhe, Süssliebchen, im Schatten, song for voice & piano (Die schöne Magelone), Op. 33/9
02. Von ewiger Liebe ('Dunkel, wie dunkel in Wald und in Feld!'), song for voice & piano, Op. 43/1
03. La Lucrezia (O Numi Eterni), cantata for soprano & continuo, HWV 145: O Numi eterni! / 
 Già superbo del mio affanno
04. La Lucrezia (O Numi Eterni), cantata for soprano & continuo, HWV 145: Ma voi forse nel cielo /
 Il suol che preme 
05. La Lucrezia (O Numi Eterni), cantata for soprano & continuo, HWV 145: A voi, padre, consorte / 
 Già nel seno comincia compir
06. Chansons de Bilitis (3), song cycle for voice & piano, L. 90: La Flûte der Pan
07. Chansons de Bilitis (3), song cycle for voice & piano, L. 90: La chevelure
08. Chansons de Bilitis (3), song cycle for voice & piano, L. 90: Le tombeau des naïades
09. Dans un bois solitaire, song for voice & piano, K. 308 (K. 295b)
10. Als Luise die Briefe ('Erzeugt von heisser Phantasie'), song for voice & piano, K. 520
11. Abendempfindung an Laura ('Abend ist's'), song for voice & piano, K. 523
12. Die ihr des unermesslichen Weltalls Schöpfer ehrt, cantata for voice & piano, K. 619
13. Giulio Cesare in Egitto, opera, HWV 17: Act 1. Duet. Son nata a lagrimar
14. Deep River
15. Bagdad Cafe, film score: Calling Sou

Lorraine Hunt Lieberson, mezzo-soprano
Peter Serkin, piano

Lorraine Hunt Lieberson's 2004 recital recorded live at the Ravinia Festival includes samples from the Baroque and Classical repertoire for which she is best known, as well as forays into territory less usual for her, including Romantic lieder, Impressionist chansons, and American popular song. These songs offer further proof, if any were needed, that Hunt Lieberson excelled in whatever she gave her attention to. With accompaniment by Peter Serkin, one of the most scrupulous and refined pianists of his generation, this recital is a stellar addition to the growing number of recorded performances that have been released since the singer's death in 2006. Hunt Lieberson was in absolutely top form for this recital, her voice limpid, luminous, radiant, and her interpretations characteristically profound in the piercingly honest emotion she brings to each work. The three middle-period Brahms songs are among the departures from her familiar territory, but the warmth and richness of her voice and the intensity of her performances are ideal for this repertoire. Her rapt serenity at the opening of "Unbewegte laue Luft" (Motionless balmy air) is a marvel of evocative text-painting. Debussy's Trois Chansons de Bilitis are also pieces that aren't generally associated with Hunt Lieberson (although late in her career, soon before this recording was made, she sang Mélisande in Boston and New York), but she brings to them an unerringly idiomatic understanding and an unmannered naturalness that go straight for the heart. In the duet from Handel's Giulio Cesare (with counter tenor Drew Minter), the desolate, intimate sense of grief for which she was renowned in Baroque repertory is on full display, and that sentiment allied with a nobility and a pulse-quickening fury make her performance of excerpts from the composer's early cantata La Lucrezia an emotional powerhouse. "Deep River" was a popular encore of hers, and she follows it here with an understated, melting performance of Bob Telson's song "Calling You," from the film Bagdad Café. The sound is open and natural, with a few ancillary noises that are a reminder that this is a live performance, but that aren't intrusive enough to be much of a problem. ---Stephen eddins, Rovi

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DISC 1:

Handel: Ariodante, opera, HWV 33
01 : Act 1. Arioso Qui d'amor
02 : Act 1. Aria Con l'ali di constanza
03 : Act 2. Recit. E vivo ancora?
04 : Act 2. Aria Scherza infida
05 : Act 3. Aria Dopo notte, atra e funesta

Handel: Theodora, oratorio, HWV 68
06 : Act 1. Air Angels, ever bright and fair
07 : Act 2. Recit. O Thou bright Sun
08 : Act 2. Air With Darkness, deep
09 : Act 2. Air Oh! that I on wings could rise
10 : Act 2. Duet To Thee, thou glorious Son

Handel: Messiah, oratorio, HWV 56
11 : Rejoice greatly, O daughter of Zion
12 : MBut who may abide the day of His coming
13 : He was despised and rejected of men
14 : I know that my Redeemer liveth

Purcell: Dido and Aeneas, opera, Z. 626  
15 : Act 3. Thy hand, Belinda When I am laid in earth

DISC 2:

Handel: Clori, Tirsi e Fileno, cantata, HWV 96
01 : Act 1. Aria Va col canto lusingando 
02 : Act 2. Aria Barbaro! tu non credi

Handel: Susanna, oratorio, HWV 66 
03 : Act 1. On Joachim may every joy attend
04 : Act 1. Bending to the throne of glory
05 : Act 2. Lead me to some cool retreat
06 : Act 2. Crystal streams in murmurs flowing 
07 : Act 2. If guiltless blood be your intent
08 : Act 3. Guilt trembling spoke my doom

Handel: Radamisto, opera, HWV 12
09 : Act 3. Recit. Oh Dio! parte Zenobia
10 : Act 3. Aria Qual nave smarrita

Handel: Ottone, re di Germania, opera, HWV 15
11 : Act 2. Recit. Ben a ragion
12 : Act 2. Aria Vieni, o figlio

Handel: Giulio Cesare in Egitto, opera, HWV 17 
13 : Act 1. Recit. Vani sono
14 : Act 1. Aria Svegliatevi nel core

Handel: Arianna in Creta, opera, HWV 32
15 : Act 2. Aria Qual leon

Bach, J.S: The Notebook of Anna Magdalena Bach (1725)
16 : Aria Bist du bei mir, for voice & continuo, BWV 508

Lorraine Hunt-Lieberson - mezzo-soprano, 
Freiburger Barockorchester 
Philharmonia Baroque Orchestra
Nicholas McGegan - conductor

This set is a tribute to the supreme artistry of mezzo-soprano Lorraine Hunt Lieberson (1954-2006). It gathers together some of the finest recordings of arias and duets made during her acclaimed association with harmonia mundi. Highlights include selections from Purcell s Dido and Aeneas and Handel s Messiah. Hunt Lieberson is accompanied by Nicholas McGegan, leading the Philharmonia Baroque Orchestra and the Freiburger Barockorchester. ---Editorial Reviews, amazon.com

Harmonia Mundi's two-disc tribute to mezzo-soprano Lorraine Hunt Lieberson focuses on her legacy in Baroque opera and oratorio, particularly the works of Handel. The recordings span a relatively brief time (1989-1995) from early in her career, beginning only about five years after she began singing professionally, so it's a testimony to the fact that so many of the elements that characterized her singing -- a voice of exceptional warmth, sensuality, depth, and color deployed in performances of devastatingly focused expression of the music's emotional core, whether in opera or concert works -- were solidly in place from the beginning. Hunt Lieberson's absolutely technical security freed her to devote her considerable gifts to bringing the music to life with absolute honesty. Her performances are so consistent in their tonal beauty, musical refinement, and transparent communicativeness that it becomes almost meaningless to speak of highlights or stand-out tracks. Her duet with counter-tenor Drew Minter in "To Thee, Thou glorious Son," is heartbreaking in its piercing emotionality. The solos from Messiah are so familiar to most listeners that they require truly spectacular performances to make an impact, and here they do; "But who may abide the day of his coming" practically blazes and "I know that my Redeemer liveth" shimmers with radiance. Nicholas McGegan, a frequent collaborator of Hunt Lieberson's in both live performances and recordings, leads the Boston-based Philharmonia Baroque Orchestra (and in excerpts from one opera, Freiberger Barockorchester) in stellar accompaniment, sensitive to the conventions of informed period performance practice and lively in expression. Harmonia Mundi's sound is consistently very fine, warm, detailed, and present. This gorgeous recording will be indispensible for Hunt Lieberson's fans. ---Stephen Eddins, AllMusic Review

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