Mezzo-soprano Lorraine Hunt Lieberson (1954-2006) is honored in a retrospective titled "A Tribute," which compiles some of her finest recordings of arias and duets from her association with Harmonia Mundi. The collection includes tributes from her husband, composer Peter Lieberson, and conductor Nicholas McGegan. Hunt Lieberson, who began her professional singing career in 1984 after playing viola, had a significant impact during her two decades of performing, despite interruptions due to illness. She tragically passed away from cancer in 2006 at the age of 52.
Her career spanned a diverse repertoire, from Baroque operas and oratorios, often with conductors like McGegan, to works by Rameau and Charpentier under William Christie. Notable recordings include Handel's "Angels, ever bright and fair" from Theodora and "Scherza infida" from Ariodante, as well as "Dido's Lament" and "Bist du bei mir." Live performances have also expanded her discography, including recitals at Wigmore Hall and the Ravinia Festival with pianist Peter Serkin, and her husband's Rilke and Neruda Songs. Her ability to embody roles of "sacrificed victims" with musical intelligence and vitality was a hallmark of her artistry.
Hunt Lieberson’s performances were often deeply personal and emotionally resonant. A 2004 recital at the Ravinia Festival, released posthumously, highlighted her range as both a vocalist and interpreter across works by Brahms, Handel, Mozart, and Debussy, alongside lesser-known composers. This recital, featuring Peter Serkin on piano and a duet with countertenor Drew Minter, showcased her "pitch-perfect" vocalism and profound sensitivity to texts. Her 2002 recital in Berkeley, which included pieces like "Scherza infida" and Mahler's "Ich bin der Welt abhanden gekommen," was profoundly influenced by her sister's death and her own cancer diagnosis, reflecting themes of mortality and transient joy.
Critics widely praised her profound artistry and emotional depth. Joshua Kosman of the San Francisco Chronicle initially misjudged her 2002 recital as a "patchwork," failing to grasp its coherent thematic exploration of death and joy. However, the lasting impact of her work is evident in the continued release of her live performances and the high regard in which her interpretations are held. Her signature encore, the spiritual "Deep River," recorded live at the 2004 Ravinia Festival, remains a powerful testament to her moving artistry and personal connection to her music. Her early demise is seen as a significant loss to the music world, with her recordings continuing to resonate with audiences.
