Anne Sofie von Otter

Anne Sofie von Otter’s long-awaited debut tour of Australia saw her present a different repertoire in Melbourne from that in Sydney. In Canberra she will contribute to an outdoor gig – and, for good measure, plant a linden tree at the Swedish Embassy. The first half served to establish von Otter’s credentials as a diva (in the strictly musical sense). Carl Nielsen’s Summer Song suited the singer’s appearance – she is tall and fair-haired, and was wearing a predominantly pink dress. More importantly, the lushness of Ludvig Holstein’s words and Nielsen’s music provided the perfect vehicle for her rich and resonant mezzo that, nevertheless, had a light touch. Wilhelm Stenhammar’s Midsummer Eve was a good companion piece to illustrate these qualities, as well as the singer’s fine control of contrasting dynamics. She then conveyed the nostalgia and melancholy of his In The Shade Of A Maple Tree without any need for translation, and finally relished the contrasting jollity of The Old Dutchman. At this point long-time accompanist Bengt Forsberg apologised on the singer’s behalf for some program changes necessitated by an “Asian bug” which was affecting her voice. Schubert would be substituted for some demanding Nordic works. This was disappointing to devotees of music rarely heard in Australia (and perhaps to those who had attended the pre-concert talks!) but the Melbourne audience had little to complain about in the diversity of music presented by a singer who is equally famous for her Octavian (Der Rosenkavalier) as for her collaborations with Elvis Costello. As one might expect, having by now heard the quality of Anne Sofie von Otter’s voice, she was very at home with the Schubert songs, and Liszt’s It Must Be A Wonderful Thing was a highlight of the first half, albeit far too short! That composer’s The Three Gypsies was noteworthy for its challenges to the pianist; however, Forsberg sailed through the characteristically florid arrangement while also showing the empathy for the singer’s voice that has given them such a happy musical partnership for many years. Forsberg had the honour of introducing the selections from the music of Percy Grainger, with Handel in the Strand, described as a “clog dance”. The singer professed to have “a heart beating passionately” for Grainger – and then proved it with charming English folksongs by the Australian composer. The second half of the program was best described as charming, from cellist Svante Henryson’s compositions (Green, Melting Eyes) to Anne Sofie von Otter’s significantly relaxed demeanour as she moved easily between Swedish, English and French for songs by Michel le Grand, George Gershwin, Paul McCartney, Elvis Costello – and Benny Andersson and Björn Ulvaeus (introducing the audience to a new, and far more acceptable, aspect of the ABBA songwriters!). Not all these songs were memorable, but for this reviewer Anne Sofie von Otter will be long remembered for her languorous rendition (in Swedish) of the old standard Walking My Baby Back Home, and Charlie Chaplin’s Smile – something the audience was certainly doing through much of this lovely performance. Rating: 4.5 stars (half off for change of program only) Great Performers: Anne Sofie Von Otter Mezzo-soprano: Anne Sofie von Otter Piano: Bengt Forsberg Vello: Svante Henryson Melbourne Recital Centre November 9