"The Austrian mezzo-soprano obviously savours the poetry, focuses emotion with natural vigour, conveys whimsy, charm and pain with apt precision. Most important, perhaps, she avoids exaggeration at every quirky turn. And, yes, she sings beautifully."
ft.com, Martin Bernheimer, 4 February 2013
Ian Bostridge and Angelika Kirchschlager sang beautifully on Sunday afternoon at Alice Tully Hall. [...] Both singers are big names who rarely appear on opera stages this side of the Atlantic, and the reputations of their voices - Mr. Bostridge's cleareyed tenor, Ms. Kirchschlager's richly hued mezzo - would have been sufficient to draw a capacity crowd to their recital of Hugo Wolf songs, presented as part of Lincoln Center's Great Performers series.
But more important, they are just that: artists who in concert deliver performances so vivid that they create an impression of spontaneous communication with the audience. [...]
In Ms. Kirchschlager's rendition of "Mühvoll Komm ich und Beladen" ("In Toil I Come, and Laden"), her downward sloping lines over dense harmonies gave physical weight to the text. On the word "beladen" she flattened her voice into a moan.
The texts of the secular songs that followed revisited the familiar topic of love's power to cause ecstasy, agony and embarrassment. Here Ms. Kirchschlager and Mr. Bostridge, who alternated throughout the program, slipped into character even as they passed each other on their way to and from the piano. They exchanged sulking, I-dare-you glances; Ms. Kirchschlager flicked the skirt of her long, flowing dress as if she were a flamenco dancer.
The musicians seemed to be engaged in a three-way game of tease, where the piano most often had the last laugh. In "Trau Nicht der Liebe" ("Trust Not Love"), which Ms. Kirchschlager delivered with a wait-for-it elasticity of tempo, her final threat to make her beloved weep sounded dead serious, except for the mocking retort in the piano.
The encore finally brought Ms. Kirchschlager and Mr. Bostridge together in a duet, Schumann's "Liebhabers Ständchen" ("Lover's Serenade"), which fully exploited their scorching chemistry.
New York Times / 6 February 2013 / Corinna da Fonseca-Wollheim