by usia review

LIEDFEST: Reviving the Art of Song

The Lied holds a place of great importance within Classical Music, and LIEDFEST represented yet another valuable contribution by soprano Catarina Molder to the promotion and reaffirmation of this essential genre. Despite its historical and artistic significance, the art of song has, in recent years, been increasingly neglected—often removed from the main auditoriums and concert halls, both in Portugal and internationally.

Recitals for voice and piano, whether in the German Lied tradition or the French mélodie, have become increasingly rare. Yet through the poetry of great writers, composers have created extraordinary musical miniatures capable of expressing the full spectrum of human emotion—from joy and intimacy to longing and sorrow. It is worth recalling that Franz Schubert alone composed around 600 Lieder, a testament to the centrality of this genre in the Romantic repertoire.

LIEDFEST took place at the newly renovated Teatro Variedades, in Lisbon’s Parque Mayer, offering a fresh and imaginative approach to the recital format. Several concerts incorporated choreographed movement and lighting design, elements rarely associated with traditional song recitals, adding a new expressive dimension for both singer and pianist.

One highlight was a recital dedicated to Portuguese song, with poetry by Luís de Camões, performed by mezzo-soprano Cátia Moreso, who also led a masterclass, contributing significantly to the festival’s pedagogical dimension.

The festival also included an illuminating conference on German Lied poetry, presented by writer and translator João Barrento and philosopher Maria Filomena Molder, offering valuable insight into the literary and philosophical foundations of the genre.

Particularly striking was the recital devoted to Chausson’s mélodies, alongside Russian excerpts from Shostakovich’s Lady Macbeth of the Mtsensk District and Katerina Ismailova, under the theme Five Forms of Love. This concert featured an original staging, with Catarina Molder joined on stage by a quartet of musicians, who actively participated in the dramatic unfolding of the performance.

Further recitals—always enhanced by carefully designed lighting—explored nocturnal themes, notably In the Mysteries of the Night, culminating in a grand finale that included Schumann’s Frauenliebe und Leben, Poulenc’s Fiançailles pour rire, and Granados’ Canciones Amatorias.

LIEDFEST thus reaffirmed the enduring relevance of the art song, proving that Lied remains not only a historical treasure, but a living and adaptable form, capable of resonating deeply with contemporary audiences.

A Ópera do Castelo Production

#liedfestlisboa ©ÓperadoCastelo 

Thanks to: Catarina Molder