歌曲是深思熟虑的，诠释是深思熟虑的。男高音歌唱家马克·帕德莫尔以一种天真无邪的口吻侧身走了进来，只是在海顿的罕见作品中逐渐展现出他饱满的嗓音。此后，每一个场景听起来都像是一个自发的话语，每一首诗都是一个新鲜的想法。不久，他在莫扎特的《阿本登芬东》中漂浮着不可抗拒的连奏，然后滔滔不绝地唱起启蒙运动风格的《小德国康塔塔K619》，其中劝诫人们要爱秩序、比例和和谐！  最吸引人的是贝多芬，他有八首歌曲和一首歌曲。Geliebte发现了钢琴家Kristian Bezuidenhout的灵感形式：他在歌曲之间的过渡是无缝的，对“Es kehret der Maien”的延伸导入非常优雅。六个数字中的每一个都对声音充满感激，男高音和演奏者完美地结合在一起，为耳朵涂上了润唇膏，尤其是在歌手向远方的爱人献上完整的花束时，令人感动的告别。  Padmore陶醉于感官上的“阿德莱德”（全部五个音节），而他的搭档则闪烁着“Selbstgespräche”的光芒，熟练而漠不关心地演唱了歌德《浮士德》中的恶魔般的“跳蚤之歌”。最棒的是《An die Hoffnung》，这是对上帝存在的衷心冥想——这张幸福的光盘有力地证明了这一点。 The songs are thoughtful and the interpretations deeply considered. Tenor Mark Padmore sidles in with an artless tone and only gradually unfurls the fronds of his full voice across the Haydn rarities that open this recital. Thereafter each setting sounds like a spontaneous utterance, every poem a freshly spun thought. Before long he is floating irresistible legato lines in Mozart’s ‘Abendempfindung’, then rattling off the Enlightenment-flavoured Little German Cantata K619 with its exhortation to Love order, proportion and harmony!  The main attraction is Beethoven, with eight lieder and a song cycle. An die ferne Geliebte finds fortepianist Kristian Bezuidenhout on inspired form: his transitions between songs are seamless, the extended lead-in to ‘Es kehret der Maien’ notably elegant. Each of the six numbers is grateful on the voice and, with tenor and player exquisitely unified, balm for the ear, not least in the touching farewell as the singer offers the completed bouquet to his distant beloved.  Padmore revels in the sensuous ‘Adelaide’, (all five syllables of it), while his partner scintillates in ‘Selbstgespräche’ and despatches the fiendish ‘Song of the Flea’ from Goethe’s Faust with deft nonchalance. Best of all is ‘An die Hoffnung’, a heartfelt meditation on the existence of God – something for which this blissful disc makes a strong case.