I don’t want to inflame passions if I talk of an EMI blonde trumpeter face-off between Alison Balsom and newcomer Tine Thing Helseth, The record company seems to have decided however that the Norwegian player should concentrate on arrangements rather than compete, for now, against their star brass player in concertos. Added to this is the fact that Helseth contributes a rock-star like Thank You credit list in the booklet notes. George Eskdale never did this sort of thing and neither did Harry Mortimer, but then times have changed.
I don’t want to comment on how strange Helseth’s name must seem to an Anglophone reader – maybe T.T. Helseth would give her a bit of ZZ Top pizzazz. How she positions herself, orRead more allows herself to be positioned musically, is probably more to the point. She’s been playing these arrangements for some time, it appears, but one wouldn’t necessarily like to see her typed as a trumpet-lite purveyor. She has a fine tone, and a good instinct for tonal colour and legato shaping. Clearly she likes narrative; her whole disc is predicated on the idea of telling a story, and she manages to ‘sing’ fluently and evenly throughout, accompanied by the Royal Liverpool Philharmonic Orchestra under Eivind Aadland.
She vests Rachmaninov’s song with just the right amount of rounded warmth, proves lyrical in Dvorák, and displays a rich cantilena in the Delibes. In the Sibelius song Soluppgĺng Op.37 No. 3 she is careful to pay service to its one terse outburst as well as to its more refined qualities. She proves a calming presence in Korngold, allowing it a truly vocalised quality – essential, really, given that it’s Marietta’s Lied from Die tote Stadt.
For Grieg’s Haugtussa she is joined by pianist Hĺvard Gimse and their intimacy demonstrates an expressive affection throughout these settings. The final song reserves the greatest quality of elegy, another component that Helseth exemplifies when necessary. She’s joined by Jonathan Aasgaard and the orchestra for José María Cano’s Epílogo. Two of Canteloube’s Chants d'Auvergne make for good programming as well.
The sound is attractive. The spatial questions in the Cano - where her trumpet is deliberately placed backwardly – are all well met. Pan-European melodies arranged for trumpet may not sound as snappy as ‘Storyteller’, but T.T. Helseth certainly tells her stories nicely.
-- Jonathan Woolf, MusicWeb International Read less
Je ne t'aime pasby Kurt Weill Performer:
Tine Thing Helseth (Trumpet)
Period: 20th Century Written: 1934; France
Als die alte Mutter Op 55.4
Les Filles de Cadix
Vĺren flyktar hastigt Op.13 Nr4
Soluppgĺng Op.37 Nr 3
Var det en dröm Op.37 Nr 4
Wiegenlied Op.41 Nr 1
Wer hat dies liedel erdacht?
Marietta's Lied (from 'Die tote Stadt')
Das Kind der Berge Op 67 (The Mountain Maid): Lockung (Allurement)
Das Kind der Berge Op 67 (The Mountain Maid): Das Kind der Berge (The Mountain Maid)
Das Kind der Berge Op 67 (The Mountain Maid): In den Heidelbeeren (Among the Bilberries)
Das Kind der Berge Op 67 (The Mountain Maid): Stelldichein (The Tryst)
Das Kind der Berge Op 67 (The Mountain Maid): Liebe (Love)
Das Kind der Berge Op 67 (The Mountain Maid): Zickeltanz (Kid-Dance)
Das Kind der Berge Op 67 (The Mountain Maid): Ein böser Tag (An Evil Day)
Das Kind der Berge Op 67 (The Mountain Maid): Am Bergbach (The Mountain Brook)
'Epílogo' noche de luna
Mon coeur s'ouvre ŕ ta voix (from Samson and Delilah)
La pastoura al camps (from Chants d'Auvergne No.1)
Malurous Qu'o uno Fenno (from Chants d'Auvergne Series 3 no 5)
Je ne t'aime pas
Average Customer Review: ( 1 Customer Review )
Wonderful Sound!March 23, 2013By D. Meyer (Longmont, CO)See All My Reviews"I heard track #9 by Korngold Marietta's Lied on the radio and immediately bought the CD. I love trumpet when it sounds like this, sort of gets under your skin and into your soul. Has a hauntingly beautiful feeling to it."Report Abuse