Sheldonian Theatre, Oxford, 5 August 2013

Christoph Pregardien, tenor; Menahem Pressler, piano

The Sheldonian may not be the most comfortable of venues for most of the audience but this seemed appropriate when undertaking Winterreise with such profoundly moving musicians. Christoph Pregardien’s approach to Schubert’s cycle seemed surprisingly positive in the opening Gute Nacht but one soon realised this, and the occasional angry outbursts, were a futile attempt to address the overarching need to reconcile oneself to loss and eventual death.

Along the way there were many wonderful moments. The final line of Gute Nacht brought just the hint of pain which returned again in Wasserflut. There are brief moments of remembered joy in Erstarrung and Der Lindenbaum but these do not last, giving way to bitterness at the end of Auf dem Flusse. As the cycle unfolded it was clear that Christoph Pregardien was moving us to a point of resignation where we could accept the inevitable. This was possibly the most poignant moment. At the end of Der Wegweiser there was a sudden sense of calm, an acceptance of the inevitability of, almost a wish for, death, which led to a glowing account of Das Wirtshaus. But death does not come and bitterness returns as he flung Mut into the face of fate. The concluding Der Leiermann was enigmatic and disturbing – a perfect conclusion to one of the most profound compositions ever set down, and performed as well as one could ever wish.

Throughout Christoph Pregardien had gently placed the songs to give them a dramatic environment. We saw as well as heard his anger, we saw the crows above; we sensed the warmth of his memory. Winterreise has in some instances been staged, but the sensitive creation here was more than enough to involve us fully in the on-going narrative.

Menahem Pressler’s accompaniment was a miracle in itself. Not only were we aware of the tear drops, the storms and the passion, but the pregnant silences, the breathless hush, were often almost unbearable. Such impact from some of the sparest accompaniments Schubert ever wrote deserved to be heard by themselves – though of course this would make no sense!

Christoph Pregardien can be heard in Schubert again, together with songs by Mahler and Mendelssohn at the Holywell Music Room on 25 October. BH