Reviewed by Anna-Celine Rautenberg

On March 30, the City Recital Hall played host to an evening of profound musical artistry as pianist Daniil Trifonov and baritone Matthias Goerne took the stage for Schubert’s Swan Songs. With a program that blended the introspective beauty of Tchaikovsky’s Children’s Album and the haunting depths of Schubert’s Schwanengesang, the recital was a moving journey through delicate piano miniatures and deeply expressive songs.

The evening opened with Trifonov performing Tchaikovsky’s Children’s Album, a collection of 24 short pieces that capture fleeting moments of innocence and nostalgia. His interpretation was nothing short of mesmerizing – each note shaped with care, every phrase imbued with emotion. It was a magical start, drawing the audience into a state of quiet reverence. For those who had experienced his performance of Rachmaninov just days before, this was a much-anticipated opportunity to hear him in a more intimate setting.

After the interval, Matthias Goerne joined Trifonov for Schubert’s Schwanengesang, bringing a new emotional intensity to the stage. The chemistry between the two artists was unmistakable – both so deeply immersed in the music that it felt as though they were living each phrase rather than merely performing it. Their ability to communicate the raw sentiment of Schubert’s songs was truly remarkable, and it was clear that the audience was equally captivated. Many listeners could be seen with their eyes closed, simply absorbing the moment.

Beyond their technical brilliance, what made this recital particularly special was the sense that a story was being told. Each song felt like a chapter in a larger narrative, unfolding with a natural progression of emotions – longing, despair, hope, and resignation. Particularly striking were their interpretations of Ihr Bild (Her Portrait), Der Doppelgänger (The Ghostly Double), Die Stadt (The Town), and Am Meer (By the Sea). In these pieces, the synergy between voice and piano was at its most compelling, and the clarity of the text heightened the emotional impact. Der Doppelgänger was chilling in its quiet intensity, while Am Meer evoked an almost tangible sense of sorrow. Goerne’s delivery made the poetry of Heine and Rellstab especially vivid, allowing the audience to fully grasp both the narrative and the deep emotions within each piece. Trifonov’s accompaniment was exquisitely sensitive, never overshadowing but always enhancing the text.

Ultimately, this recital was an evening of pure musical immersion. Trifonov and Goerne proved to be a formidable duo, delivering a performance that was both technically masterful and deeply moving. A concert that was not just heard but felt.