Opus Klassiek
With the motto This Is Not A Lullaby Channa Malkin emphasizes that motherhood is much more than a lullaby: โWith my new album I want to tell the real story, instead of the ideal image of the almost holy mother.โ It fits in a trend in which the classical song recital becomes a personal document in which the singer (es) makes something clear about their own life. When Malkin had a son, her life changed completely. She expresses that world of contradictions โ love and joy next to fear, worry and broken nights as experienced by young parents โ by choosing songs that most reflect that for her. It is obvious that you also write the liner notes yourself to interweave repertoire and personal experience.
This new album was made possible thanks to crowdfunding, whereby the lockdown did not make things any easier. But on a small label like TRPTK you can get the chance for greater artistic freedom than with the traditional record companies as they used to work.
Channa Malkinโs father is Josef Malkin, second violinist in the Concertgebouw Orchestra and composer. It is special to hear from his daughter how the father interprets parenthood. His five Russian songs, based on poems by Ilya Selvinsky, Vladimir Riabokon-Ribeaupierre and Boris Ryzhy, depart from the atmosphere of Musorgskyโs Nursery, but become increasingly oppressive. With Akhmatova โs decidedly ominous Lullaby, you will understand what the title of this album is all about.
Anna Akhmatova is also related to the third collection: Russian songs by Sir John Tavener. Motherhood has been abandoned as a theme here, with the motivation that a mother also has the right to do something different. The main topic is exile, related to Dante, Pushkin, Lermontov, Pasternak and finally the inevitability of death. Artem Belogurovโs piano has been replaced by Maya Fridmanโs cello. The music is bare and sober, but much more concise and expressive than the weak ethereal mysticism that has become Tavenerโs trademark. So, he could do it โฆ you almost think โฆ
Channa Malkin has delivered a beautiful album with a well thought out, intelligent program. Her approach is felt, her voice sounds young and fresh, especially in the middle register where she clearly feels most at home. Also pay tribute to the alert pianist Belogurov and the sonorous cellist Fridman, who speak the same language as the singer. The recording is to put through a ring, has warmth and is good in the room.
Gerard Scheltens
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