Barbra believes (as do her fans) that she is omnipotent, able to turn her unique voice to any kind of music. Classical songform defeats Barbra because she does not have enough technique to sing with quiet control throughout her range.

For instance her attempt at 'Apres Un Reve' by Faure is marred by a 'what the heck' chesty bellow, followed by a typically impassioned Barbra-ism on 'Elas!', both of which ruin the bridge passage. She reaches for that top note as if she was Ethel Merman. French with a Brooklyn accent has always been a difficult trick to master.

Barbra only just manages to hold her pitch and breath control in check in the Wolf lied. She must have thought that because the song was so short and seemingly had little scope for drama, it would be an easy piece of filler. As a lover of Lieder, someone who had Classical training and took a particular liking to singing this song, I'm afraid Barbra's attempt will always bring tears to my eyes for the wrong reasons. The one song in English (composed specifically for Babs) is an embrarrasing trifle which does not deserve to sit with any of the poorly executed but genuinely beautiful pieces that preceed it.

Of course because I've had the nerve to criticise Barbra, my opinion will probably be read with horror by everyone else, or it might not even make it on to the page. Criticism is actually more valuable than praise - and every singer and their admirers should accept that. I've always taken it on the chin (and I don't have a fanbase in my flat!), and I wish Barbra would - just occasionally...
Barbra believes (as do her fans) that she is omnipotent, able to turn her unique voice to any kind of music. Classical songform defeats Barbra because she does not have enough technique to sing with quiet control throughout her range. For instance her attempt at 'Apres Un Reve' by Faure is marred by a 'what the heck' chesty bellow, followed by a typically impassioned Barbra-ism on 'Elas! ', both of which ruin the bridge passage. She reaches for that top note as if she was Ethel Merman. French with a Brooklyn accent has always been a difficult trick to master. Barbra only just manages to hold her pitch and breath control in check in the Wolf lied. She must have thought that because the song was so short and seemingly had little scope for drama, it would be an easy piece of filler. As a lover of Lieder, someone who had Classical training and took a particular liking to singing this song, I'm afraid Barbra's attempt will always bring tears to my eyes for the wrong reasons. The one song in English (composed specifically for Babs) is an embrarrasing trifle which does not deserve to sit with any of the poorly executed but genuinely beautiful pieces that preceed it. Of course because I've had the nerve to criticise Barbra, my opinion will probably be read with horror by everyone else, or it might not even make it on to the page. Criticism is actually more valuable than praise - and every singer and their admirers should accept that. I've always taken it on the chin (and I don't have a fanbase in my flat! ), and I wish Barbra would - just occasionally...