At least as interesting as the vocal line are Meyerbeer's piano accompaniments, so effective and full of character and integral to the sense of the songs. Listen to how the composer uses sparkling, tinkling treble figures to completely different results in Ma barque légère and La Fille de l'air. Many of Meyerbeer's songs have a definite operatic flavor (not surprising, considering his position as one of the eminent opera composers of the period), and some could stand in for full-fledged arias--Le Voeu pendant l'orage (The vow during the storm) or Ma barque légère (The light skiff), for example. In this latter song Otter is in absolute top form, showing impressive vocal control and exuding such personality and vitality--not to mention impeccable vocal technique--that you feel almost as if you could be right in the room with the singer.

Although Beethoven's strong suit certainly was not the solo song, anyone who has doubts about his melodic gifts or his ability to create a charming vocal piece only has to listen to the extended Seutzer eines Ungeliebten-Gegenliebe, a "dialogue" concerning "one who is unloved" and "love returned", or to the delicate and tender Sehnsucht (Yearning). Otter really enlivens what could be a fairly routine song--Beethoven's Maigesang (May Song)--purely with her vivacious energy and dancing inflection; she does the same for several others, including Beethoven's Adelaide. The Spohr pieces are remarkable little gems, not only for their engaging melodies but especially for the delightful, playful, perfectly integrated violin parts. More than mere decoration, the violin is an interactive if sometimes capricious companion to the singer. Why aren't these pieces performed more often? Who knows, but after hearing them once, you'll certainly want to return to them--as you will this entire recital. Otter is one of today's more able and versatile soloists, and unlike many other big-time singers, she really seems to love the solo song genre. Yes, she occasionally can get carried away with cutesy, flirtatious affectations--as in the disc's opening song and in isolated moments elsewhere--but even on a recording she fully engages herself and projects as if to a live audience--and as home listeners we certainly gain from that. You might wonder about the use of a fortepiano here, but you shouldn't worry at all. This is an unusually full-bodied instrument, richly colored and more than up to the dramatic demands of the songs, and it's exceptionally well recorded and balanced with the voice.