Recommended Schubert lieder recordings
Akiralx
"Archie Bubbles" <archie...@hotmail.com> wrote in message
news:Xns94406DF4D394ar...@195.92.193.157...
> Could any Schubert lieder fans help me with their recommended recordings?
> I'm trying to slowly work my way through the Hyperion edition but it's
just
> so momumental I'm a bit lost. So far what really works for me is the
> Fassbaender volume which I find deeply moving, also the Auger volume
(maybe
> not as consistent, but worth it for Thekla D595 alone I thought). For some
> reason Janet Baker just doesn't do it for me, never has, I don't know why.
> The Margaret Price volume was lovely, I can listen to Ian Bostridge's
> schöne Müellerin almost endlessly; I'm still waiting to take to the
Phillip
> Langridge volume . and that's as far as I've got.
>
> Any recommendations apart from the Hyperion set would also be much
> appreciated - I'm especially interested by historical recordings. I just
> can't get enough of Irmgard Seefried and have bought just about everything
> I can find in the catalogues. Elizabeth Schumann's recital gets a
wonderful
> review at amazon for instance.
Fassbaender's Winterreise on EMI is superb, as is the Schwanengesang on DG,
both with Reimann. I enjoyed Barbara Bonney's recital on Teldec also.
Mike Painter
Bubbles <archie...@hotmail.com> wrote:
> Could any Schubert lieder fans help me with their recommended recordings?
> I'm trying to slowly work my way through the Hyperion edition but it's just
> so momumental I'm a bit lost. So far what really works for me is the
> Fassbaender volume which I find deeply moving, also the Auger volume (maybe
> not as consistent, but worth it for Thekla D595 alone I thought). For some
> reason Janet Baker just doesn't do it for me, never has, I don't know why.
> The Margaret Price volume was lovely, I can listen to Ian Bostridge's
> schöne Müellerin almost endlessly; I'm still waiting to take to the Phillip
> Langridge volume … and that's as far as I've got.
>
> Any recommendations apart from the Hyperion set would also be much
> appreciated - I'm especially interested by historical recordings. I just
> can't get enough of Irmgard Seefried and have bought just about everything
> I can find in the catalogues. Elizabeth Schumann's recital gets a wonderful
> review at amazon for instance.
>
> Many thanks,
>
> Archie
Hyperion has a disk out (HYP200) called "A Voyage of Discovery" which has
excerpts from the first 27 volumes of the complete set. It has 26 songs
and is a mid-price CD. It's a good introduction tothe set and stands well
on its own.
Ann Muray's vol. 3 of the complete edition is very good. Matthias Goerne's
vols. 27 and 30 (Winterreise) are also excellent.
Another very good CD is with Elly Ameling and Jorg Demus, pianoforte. She
sings 9 Schubert songs and 19 by Schumann. It has the best version of "Der
Hirt auf sem Felsen: that I know of. It is on Deutsche Harmonia Mundi
(77085-2-RG) also mid-price. MHS also has it.
Anne Sophie von Otter and Thomas Quasthoff have a CD out of Schubert
lieder orchestrated by others (Liszt, Berlioz, etc.) which I'm waiting to
receive in the mail, so I can't comment on that. It's on DG (I think).
cheers,
Mike
Johannes Roehl
>
> Could any Schubert lieder fans help me with their recommended recordings?
> I'm trying to slowly work my way through the Hyperion edition but it's just
> so momumental I'm a bit lost. So far what really works for me is the
> Fassbaender volume which I find deeply moving, also the Auger volume (maybe
> not as consistent, but worth it for Thekla D595 alone I thought). For some
> reason Janet Baker just doesn't do it for me, never has, I don't know why.
> The Margaret Price volume was lovely, I can listen to Ian Bostridge's
> schöne Müellerin almost endlessly; I'm still waiting to take to the Phillip
> Langridge volume … and that's as far as I've got.
Don't know too many of the Hyperion edition, but some recs OOTTOMH:
Winterreise: Anders/Raucheisen (DG)
Fischer-Dieskau/Demus (DG)
Müllerin: Fischer-Dieskau/Moore (EMI)
Wunderlich/Giesen (DG)
Schwanengesang: Terfel/Martineau (some odd Welsh label)
recitals: Fi-Di/Richter (DG), incl. some relatively unknown pieces
Janowitz has 4 CD's worth on DG, above all, I'd recommend the one with
'Der Hirt auf dem Felsen' and the songs after Scott (Ave Maria etc.)
Bonney's recital is o.k., but IMO not as great as others
Mayrhofer Lieder with Pregardien/Staier (Teldec), some are relatively
little known, but often fascinating in a somewhat morbid way
Terfel's recital on DG is also worth a listen and of course
Wunderlich's fillers on Müllerin and the Dichterliebe recording (DG,
also the same stuff available from several live recitals in Salzburg)
HTH
JR
Paul Goldstein
>
>Could any Schubert lieder fans help me with their recommended recordings?
I like most of Janet Baker's Schubert recordings very much, so take these
recommendations with a grain of salt.
My favorite Schubert Lieder singer generally is Elly Ameling. Any of her
Philips or Harmonia Mundi CDs are highly recommended. Mike Painter rightly
singles out her sublime HM "Der Hirt auf dem Felsen."
Thomas Quasthoff's recent Schwanengesang (DGG) sweeps the field IMO. He has
Fischer-Dieskau's musicality without his appalling mannerisms.
The greatest Die Schoene Muellerin remains the one by Aksel Schiotz, best heard
on Danacord.
There are many sublime recordings of Winterreise. Lately I've been enjoying
Peter Schreier's with Andras Schiff (Decca).
For Fischer-Dieskau, generally speaking the earlier the better. His late-mono
EMI discs with Gerald Moore capture him on his best behavior. Their
"Staendchen" is unforgettable.
I would avoid Schwarzkopf and Schumann like the plague in Schubert, but many
will tell you otherwise.
Paul Goldstein
Ian Bell
"MELMOTH" <theo...@frie.fr> wrote in message
news:11bexkhgauzmy$.dlg@monmelmoth.com...
> - Schwangesang, by Hans Hotter/Gerald Moore (EMI References - 5 65196 2 -
> rec. 1949)
Yes definitely. And going slightly OT for this thread, also his Bach/Brahms
disc. (There's also a Hotter Winterreise, which I have but don't know as
well as the other two.)
Schwarzkopf's recital disc from the 1950s (w/ Edwin Fischer) has many fans,
myself included.
Given that you like Bostridge you should look out for his EMI Schubert
recital discs--I know and like vol. 1 a great deal, not as familiar w/ vol.
2. Apart from Bostridge, I'd also look out for recent-ish discs by Thomas
Quasthoff and Matthias Goerne.
IB
Andy Evans
He does it for me!
=== Andy Evans ===
Visit our Website:- http://www.artsandmedia.com
Audio, music and health pages and interesting links.
Jon A Conrad
>Could any Schubert lieder fans help me with their recommended recordings?
>I'm trying to slowly work my way through the Hyperion edition but it's just
>so momumental I'm a bit lost.
"Slowly" is the only way to do it, in any case. Though the Hyperion format
of single discs, each with a well-planned program, makes it all more
manageable, that's still a whole lot of Schubert to absorb. (And though
Graham Johnson rightly makes the best possible case for each song in his
notes, not every song is an immortal gem, to say the least. It's
inevitable when you write 900 songs.)
>So far what really works for me is the
>Fassbaender volume which I find deeply moving, also the Auger volume (maybe
>not as consistent, but worth it for Thekla D595 alone I thought).
It sounds to me as if you're right on the mark in your appreciations
(which is to say, they match mine pretty closely :) ). The Fassbaender
volume *is* extraordinary and moving. There's one direction to explore
further -- almost any of Fassbaender's lieder recordings are worth
hearing, and absorbing. And I agree with you on Auger too (she didn't
record as many lieder elsewhere, though there's some good Wolf).
>For some
>reason Janet Baker just doesn't do it for me, never has, I don't know why.
Again, that just says to me that you're using your ears. In her vocal
prime (the decade mid-60s to mid-70s) her level of commitment and insight
made her wonderful to hear in songs, in any language. In later years, with
the voice no longer responsive or colorful enough to put the intentions
into reality, I found she had less to offer (to me -- all this is highly
personal of course).
>The Margaret Price volume was lovely, I can listen to Ian Bostridge's
>schöne Müellerin almost endlessly;
Again with the good hearing and taste on your part. Yes, exactly. With
that in mind, let me also recommend Thomas Hampson's "Greek" volume from
this series, the other two "Night" volumes (Anthony Rolfe Johnson and
Sarah Walker) with both have spectacular things to offer, and Mathias
Goerne's two (Schlegel and Winterreise). Goerne is another good direction
to explore on other CDs, likewise Bostridge. Both record a great deal of
lieder, and both are reliably of high quality.
>I'm still waiting to take to the Phillip Langridge volume
You may not. I've barely played since the first play-through after I got
it.
>Any recommendations apart from the Hyperion set would also be much
>appreciated - I'm especially interested by historical recordings. I just
>can't get enough of Irmgard Seefried and have bought just about everything
>I can find in the catalogues. Elizabeth Schumann's recital gets a wonderful
>review at amazon for instance.
I don't get so much out of Schumann myself, but many other folks feel
different. I find the later Seefried (after the mid-1950s, when she
restudied her vocal production and removed most of the vibrato) hard to
take sometimes, but she could give lessons to everyone else in sounding
spontaneous when she performed.
Of pre-LP singers, I'd also recommend Gerhard Huesch and Richard Tauber
(the latter is often underrated, perhaps because he was such a good
operetta tenor; but he was also splendid in lieder). And Herbert Janssen
and Alexander Kipnis, if you can find anything of theirs. Elisabeth
Rethberg is always vocally irreproachable, but not always very interesting
in song, to my taste. Lotte Lehmann was *not* always vocally
irreproachable, but always immensely alive and vivid, and the basic vocal
quality was of the best (alas, her early lieder recordings, when the voice
was freshest, tend to be marred by slurply orchestrated accompaniments).
One revered early lieder singer to avoid like the plague is the vile and
unmusical Elena Gerhardt.
From the LP era, there's a great deal of Fischer-Dieskau to explore, and
now that his recordings are not quite as omnipresent (to the exclusion of
others') as they once were, it's easier to appreciate their exceptional
level of vocal and interpretive mastery. Along with early Baker, look for
early Ameling (I like almost all her recordings, but there was an extra
degree of spring and zest in some of those first outings). And Christa
Ludwig.
Jon Alan Conrad
Department of Music
University of Delaware
con...@udel.edu
allankohrman
performs the best Dichterliebe. For Wintereise I recommend Hotter/Moore.
The best Erkonig, by far, is by Alexander Kipnis.
DFD worries the music too much for me.
Allan Kohrman
Newton, MA
JRsnfld
appreciated - I'm especially interested by historical recordings. I just
can't get enough of Irmgard Seefried and have bought just about everything
I can find in the catalogues. Elizabeth Schumann's recital gets a wonderful
review at amazon for instance. >>
Since you like the Fassbaender volume, I think you should explore her other
recordings. I have most of her Schubert and find it very satisfying.
In addition to all the other recommendations you've received so far, I'd like
to point out a live recital disc from Tanglewood with Ameling that's well worth
getting. I think it's on the Globe label.
Despite the lukewarm comments about Elizabeth Schumann, I think you should
give the Naxos Schubert disc a try. She's an acquired taste, perhaps, but her
singing seems intelligent and apt in this lieder.
Unlike many others, I do like Janet Baker very much, though one can tire of her
singing after a while--perhaps that's her "later" style--when she seems to
stint on consonants and relies on certain colors over and over to shade the
music. At her best, she is deeply moving.
You can take my recommendations on this cycle with a grain of salt, but
Schreier is also very probing and develops a strong character in his
Winterreise--the one with Schiff is vocally more even, and Schiff is superb,
but the one with Richter has just a bit more energy from both singer and
pianist at times, even though the voice sounds less fresh. For a really highly
dramatic Winterreise (in a really tired voice), try Vickers' live performance.
You may hate it, but you won't forget it. Hotter, ultimately, may be my
favorite of them all in this cycle (I'm not sure which version to recommend).
--Jeff
Matthew燘. Tepper
not nearly as much as in rec.music.opera, where the received opinion is that
he is downright awful in every way), but I listened again recently to his
1950s-60s EMI recordings of "Die Schöne Müllerin" and "Schwanengesang" (plus
additional individual Lieder), and they are wonderful.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
To write to me, do for my address what Androcles did for the lion
War is Peace. ** Freedom is Slavery. ** It's all Napster's fault!
Andante teneramente
> Fischer-Dieskau takes a certain amount of bashing in this
> newsgroup (though not nearly as much as in rec.music.opera,
> where the received opinion is that he is downright awful in
> every way),
So this is the received opinion on rmo?
--
Regards
Andante teneramente
> One Winterreise that stays close to my particular CD player
> is Julius Patzak. He does it for me!
I can't really like his Winterreise, because he had hardly any
voice left when he sang it.
But Patzak's Muellerin is very good.
This may be a minority vote too:
Pears/Britten are usually great in Liedern.
Their Winterreise (which still should be available) is IMO one of
the best.
In Muellerin I sometimes wish Pears would sound more youthful,
but only in a few moments like "Dein ist mein Herz" or "Guten
Morgen, schoene Muellerin". I think the Muellerin is OOP anyway.
There are a couple of different Schubert songs around, both live
(BBC) and from the studio (DECCA, coupled with Dichterliebe; I
think the latter are OOP too).
--
Regards
Larry Rinkel
Westminster LP of the Schwanengesang sung by the Romanian tenor Petre
Munteanu with Franz Holetschek at the piano should not be missed. Munteanu
did not have a very large voice, but he sings with finely pointed, intense
musicality and superb control over phrasing and dynamics. Unfortunately this
recording, as well as Munteanu's also very fine Schöne Müllerin and two
discs of Schumann Lieder, has never been commercially transferred to LP. If
any of them finally show up on CD, don't hesitate! I've seen a Munteanu LP
sell for close to $90 on eBay.
Matthew燘. Tepper
letters to be typed in news:Xns9440CCB...@127.0.0.1:
Sadly, yes. There is also heavy Domingo-bashing there.
EG
> "Archie Bubbles" <archie...@hotmail.com> wrote in message
> news:Xns94406DF4D394ar...@195.92.193.157...
> > Could any Schubert lieder fans help me with their recommended recordings?
> > I'm trying to slowly work my way through the Hyperion edition but it's
> just
> > so momumental I'm a bit lost. So far what really works for me is the
> > Fassbaender volume which I find deeply moving, also the Auger volume
> (maybe
> > not as consistent, but worth it for Thekla D595 alone I thought). For some
> > reason Janet Baker just doesn't do it for me, never has, I don't know why.
> > The Margaret Price volume was lovely, I can listen to Ian Bostridge's
> > schöne Müellerin almost endlessly; I'm still waiting to take to the
> Phillip
> > Langridge volume . and that's as far as I've got.
> >
> > Any recommendations apart from the Hyperion set would also be much
> > appreciated - I'm especially interested by historical recordings. I just
> > can't get enough of Irmgard Seefried and have bought just about everything
> > I can find in the catalogues. Elizabeth Schumann's recital gets a
> wonderful
> > review at amazon for instance.
Elisabeth Schumann - yes! Lotte Lehmann, Schlusnus and Rehkemper to get started.
Avoid anything post 1960.
Try to find a 4cd set on LYS of Lehmann singing Schubert.
deac...@yahoo.com
There is simply NO accounting for taste, or, for the ability of people
to spend money foolishly. None. Absolutely.
TD
deac...@yahoo.com
<oyþ@earthlink.net> wrote:
>Andante teneramente <ky...@gmx.de> appears to have caused the following
>letters to be typed in news:Xns9440CCB...@127.0.0.1:
>
>> "Matthew B. Tepper" <oyþ@earthlink.net> wrote
>>
>>> Fischer-Dieskau takes a certain amount of bashing in this newsgroup
>>> (though not nearly as much as in rec.music.opera, where the received
>>> opinion is that he is downright awful in every way),
>>
>> So this is the received opinion on rmo?
>
>Sadly, yes. There is also heavy Domingo-bashing there.
So silly.
Fidi and Placido can sing rings around all those queens.
TD
Andante teneramente
> Andante teneramente <ky...@gmx.de> appears to have caused the
> following letters to be typed in
> news:Xns9440CCB...@127.0.0.1:
>
>> "Matthew B. Tepper" <oyþ@earthlink.net> wrote
>>
>>> Fischer-Dieskau takes a certain amount of bashing in this
>>> newsgroup (though not nearly as much as in
>>> rec.music.opera, where the received opinion is that he is
>>> downright awful in every way),
>>
>> So this is the received opinion on rmo?
>
> Sadly, yes. There is also heavy Domingo-bashing there.
Yeah, I know that. After all I still read rmo.
What I meant is:
Are you sure you are not confusing rmo's received opinion with
what the rmo'ers with the loudest voices and the greatest number
of posts write? I think you are.
--
Regards
Larry Rinkel
news:qiscsvk7v9qcuoi24...@4ax.com...
Regardless of the $$ issue (I did not spend anywhere near that amount for my
copy, and wouldn't), is the above an attack on Munteanu, and if so, why?
deac...@yahoo.com
<LRi...@optunderline.net> wrote:
No attack on said singer. Simply a statement about fools and their
money.
It's a truism, you know.
TD
EG
> Fischer-Dieskau takes a certain amount of bashing in this newsgroup (though
> not nearly as much as in rec.music.opera, where the received opinion is that
> he is downright awful in every way), but I listened again recently to his
> 1950s-60s EMI recordings of "Die Schöne Müllerin" and "Schwanengesang" (plus
> additional individual Lieder), and they are wonderful.
Junk!!!! Evidently dfd has not been bashed enough.
He is the Murray Perahia of lieder.
In other words, should be played only in two star hotel lobbies.
Dan Koren
news:7c2a720b.03112...@posting.google.com...
dfd? what dfd?
did you mean "diet rich fisher this cow"?
dk
na...@uiuc.edu
> Again with the good hearing and taste on your part. Yes, exactly. With
> that in mind, let me also recommend Thomas Hampson's "Greek" volume from
> this series, the other two "Night" volumes (Anthony Rolfe Johnson and
> Sarah Walker) with both have spectacular things to offer, and Mathias
> Goerne's two (Schlegel and Winterreise).
For Goerne in Winterreise you may wish to hold off until his new
version (recorded live with Brendel just last month) comes out.
There's a Schwanengesang in the pipeline, too.
There have been plenty of good recommendations in this thread, but I'd
especially like to endorse the ones for Ameling. But while I agree
that her very earliest recordings are special, I wouldn't overlook her
later work. There used to be a 4-CD box of her Schubert recordings on
Philips which contained not only a lot of fine singing but also some
interesting choices of songs.
Fischer-Dieskau is so omnipresent that it hardly seems necessary to
recommend listening to him. One of my all-time favourite miscellaneous
Schubert recital discs is one that he did late in his career with
(again) Brendel: it includes what are to my ears unsurpassed
performances of "Herbst", "Nacht und Traeume" and "Der Wanderer an den
Mond", among others. But I may be the only one here who feels that
way. I would say, though, that this is a singer worth hearing with a
variety of accompanists.
One name I haven't seen mentioned here so far is Christoph Pregardien.
He has made quite a few Schubert lieder discs, but the ones where he
is accompanied on fortepiano by Andreas Staier are especially
rewarding. Their Winterreise is particularly good.
Naun.
Philip Peters
Ian Bell wrote:
> "MELMOTH" <theo...@frie.fr> wrote in message
> news:11bexkhgauzmy$.dlg@monmelmoth.com...
>
>>- Schwangesang, by Hans Hotter/Gerald Moore (EMI References - 5 65196 2 -
>>rec. 1949)
>
>
> Yes definitely. And going slightly OT for this thread, also his Bach/Brahms
> disc. (There's also a Hotter Winterreise, which I have but don't know as
> well as the other two.)
Um...< clears thorat > there are *six* commercial Winterreise's by
Hotter... Everybody should have at least *one* Winterreise by Fidi (I
prefer the one with Demus) but I won't go on and on about Winterreise.
>
> Schwarzkopf's recital disc from the 1950s (w/ Edwin Fischer) has many fans,
> myself included.
Now that I'm here anyway I'd like to endorse this recommendation too
along with the Elisabeth Schumann recordings, Die Schoene Muellerin by
Schiotz (and the one by Souzay) and all three DG FIDI boxes from the
early seventies.
Apart from Bostridge, I'd also look out for recent-ish discs by Thomas
> Quasthoff and Matthias Goerne.
Indeed. Quasthoff's Winterreise is something else (especially if you can
find a radio broadcast recording of the 1999 London concert with Charles
Spencer, but the commercial CD will do nicely too...oh dea, here I go
again).
Philip
>
>
>
Pierre Ducre
>
> Anne Sophie von Otter and Thomas Quasthoff have a CD out of Schubert
> lieder orchestrated by others (Liszt, Berlioz, etc.) which I'm waiting to
> receive in the mail, so I can't comment on that. It's on DG (I think).
>
Schubert's lieders CDs list.
If you like Von Otter check out also her earlier recording on DG as
well (with a piano this time) with an amazing Staendchen.
If you are looking for recent recordings, get Werner Gura's Schoene
Muellerin. I believe it is available at Berkshire, and it just one
of the greatest version of the cycle I have heard.
PD
Matthew燘. Tepper
Perhaps I ought to have put the words "received opinion" in quotes.
EG
> aeatarts...@aol.comnohawker (Andy Evans) wrote
>
> > One Winterreise that stays close to my particular CD player
> > is Julius Patzak. He does it for me!
>
> I can't really like his Winterreise, because he had hardly any
> voice left when he sang it.
I'll take Patzak without voice any day over the "would you like to
have some Winterreise with your tea?" of Pears/Britten.
It is from 1964 and I'm listening to it as I type. Patzak's is perhaps
not my favorite Winterreise, but it is great artistry; a set I
wouldn't want to be without.
Andy Evans
> voice left when he sang it.
I'll take Patzak without voice any day over the "would you like to
have some Winterreise with your tea?" of Pears/Britten.>
This raises the question of 'what is a singer' - a voice or a whole
personality. Why was Billie Holiday loved by so many when she hardly had a
voice at all?
EG
....the discussion of all those worthless post WWII sound producers
erased....
>
> Of pre-LP singers, I'd also recommend Gerhard Huesch and Richard Tauber
> (the latter is often underrated, perhaps because he was such a good
> operetta tenor; but he was also splendid in lieder). And Herbert Janssen
> and Alexander Kipnis, if you can find anything of theirs. Elisabeth
> Rethberg is always vocally irreproachable, but not always very interesting
> in song, to my taste. Lotte Lehmann was *not* always vocally
> irreproachable, but always immensely alive and vivid, and the basic vocal
> quality was of the best (alas, her early lieder recordings, when the voice
> was freshest, tend to be marred by slurply orchestrated accompaniments).
> One revered early lieder singer to avoid like the plague is the vile and
> unmusical Elena Gerhardt.
Avoid Gerhardt and listen to dfd?????????? What is the world coming
to....
Tauber was a great singer and his lieder are wonderful and inimitable.
It is strange to hear him labelled as an operetta singer and being
underrated. Janssen and Kipnis and Huesch are excellent. Lehmann was a
goddess. It is amazing to see people nitpicking on various vocal
"defects" of Lehmann, Tauber, etc. and looking for the lifeless,
characterless, bland and uniform
sound production that is called singing nowadays.
Singing is a dead art, even more dead than the rest of classical
music. If you are interested in it,
you have to look back. The farther back you look, the greater singers
you will find.
In any case, make sure that you listen to Schlusnus. After that, your
dfd will serve you well as a coaster.
na...@uiuc.edu
> Indeed. Quasthoff's Winterreise is something else (especially if you can
> find a radio broadcast recording of the 1999 London concert with Charles
> Spencer, but the commercial CD will do nicely too...oh dea, here I go
> again).
I haven't heard the commercial recording, but many people seem to
think that Quasthoff's interpretation has developed since he made it.
I heard him sing it at Ravinia last year (with Eschenbach at the
piano) and it was overwhelming like no other Winterreise I'd heard
before. I wonder if there's a possibility that, like Goerne, he will
re-record it.
Naun.
Andante teneramente
...snip...
> What I did want to ask though is why did everyone stay away
> from recommending the Pears/Britten "Winterreise"? I usually
> plod along with a very out of date Penguin guide, and I
> bought it on their recommendation. And I liked it a lot,
> though it's the only version I have so haven't got any
> comparisons (yet!). I just wondered whether it was
> considered to be flawed in some way.
No. The Pears/Britten Winterreise is just fine. You should,
however, have your glasses checked ;-) .
--
Regards
Simon Roberts
says...
The live performance I attended around the time he recorded it was better than
the recording too; overwhelming indeed, though not to the extent that the live
Goerne I attended in a tiny hall here in Philadelphia - just astonishing. I'm
glad to see Goerne's rerecorded/ing it (I take it that's what your comment
means).
Simon
Simon Roberts
says...
>One name I haven't seen mentioned here so far is Christoph Pregardien.
>He has made quite a few Schubert lieder discs, but the ones where he
>is accompanied on fortepiano by Andreas Staier are especially
>rewarding. Their Winterreise is particularly good.
Yes; another favorite of mine is his Schoene Mullerin, my favorite among more
recent recordings of the piece (and one of my favorite recordings of it,
period).
Simon
John Gavin
> In article <Xns94406DF4D394ar...@195.92.193.157>, Archie Bubbles
> says...
> >
> >Could any Schubert lieder fans help me with their recommended recordings?
>
> recommendations with a grain of salt.
>
> My favorite Schubert Lieder singer generally is Elly Ameling. Any of her
> Philips or Harmonia Mundi CDs are highly recommended. Mike Painter rightly
> singles out her sublime HM "Der Hirt auf dem Felsen."
>
She's my favorite too. Philips put out a 4-CD set of Ameling singing
Schubert accompanied by Dalton Baldwin and Rudolf Jensens. There's
also an Ameling/Schubert recital from Tanglewood on Omega and one
Hyperion disk (where she's a bit past her best point).
>
>
Paul Goldstein
says...>news:Xns94406DF4D394ar...@195.92.193.157:
>
>Thank you all very much for all the recommendations - I've been copying and
>pasting furiously so nothing is lost. Perfect timing too, what I can't
>afford to get right away I'll put into a list ready for the usual "What
>would you like for Christmas?" question from friends and family :o)
>
>What I did want to ask though is why did everyone stay away from
>recommending the Pears/Britten "Winterreise"?
Let's just say that Pears is not up to the task. A terrible shame, since
Britten's accompaniment is perhaps the best ever recorded. Just wait till you
hear a Winterreise sung by someone who can actually sing!
Paul Goldstein
Matthew燘. Tepper
following letters to be typed in news:20031128032912.20316.00001148@mb-
m04.aol.com:
>> I can't really like his Winterreise, because he had hardly any
>> voice left when he sang it.
>
> I'll take Patzak without voice any day over the "would you like to
> have some Winterreise with your tea?" of Pears/Britten.>
>
> This raises the question of 'what is a singer' - a voice or a whole
> personality. Why was Billie Holiday loved by so many when she hardly had
> a voice at all?
The same thing has always puzzled me about Bob Dylan. And it is not so
much the small raspy voice, but the inability to hit actual pitches. Kind
of like Peter Lorre reading "The Raven" or something.
In the classical music world, the ostensible tenor William Wernigk (who can
be "heard" as Monostatos in Toscanini's Salzburg _Zauberflöte_ -- when will
Andante bring this out?) has always struck me as a total zero. Perhaps he
had been a Kammersinger in Vienna for decades and decades and was kept on
through some sort of seniority system. Shudder.
Victor Gan
Elly Ameling is wonderful. Discs on DHM are earlier, but the Philips
set has as much to offer. The recent box 'The Artistry of Elly
Emeling' I found less to like in though, I think they are even later
recordings.
The two EMI boxes: Schubert on Record have wonderful stuff in them --
not to be missed.
DFD -- I like the first volume of the Orfeo Salzburg recitals with
Moore, from 1956 I think. His DG collaborations with Demus I find I
listen to more than his DG/EMI recordings with Moore, broadly
speaking.
Elena Gerhardt, Elisabeth Schumann and Lotte Lehmann remain three
touchstones of the art of singing for me.
Just heard Vinogradov's Schone Mullerin (Melodiya, on a recent Guild
compilation) which I find he has just the right sort of voice and
approach -- light, fresh, young. Not the best vocal technique though.
Hotter in Schwanengesang, Winterreise. Anders in Winterreise. Kipnis
in various songs. Tauber in Winterreise excerpts and other songs.
I like Baker only occasionally, Schwarzkopf almost never, Seefried's
Italienisches Liederbuch I love dearly but haven't heard much of her
Schubert.
Of younger singers, Bostridge can be really good, also Goerne (though
I've been unlucky with them in live recitals).
David7Gable
>Munteanu with Franz Holetschek at the piano should not be missed. Munteanu
>did not have a very large voice, but he sings with finely pointed, intense
>musicality and superb control over phrasing and dynamics.
I feel the same way about this absolutely extraordinary singer. I would also
recommend the Schubert of Werner Krenn (one Decca recital, one EMI recital, and
a Schöne Müllerin that's not quite as good). None of this has made its way to
CD, hélas. I have countless LP's of Schubert songs. I have found it more
difficult to find things I like on CD. I do like Elisabeth Schumann,
Fassbänder, and Elly Ameling. One liability in Schubert performances is often
the mannered professional accompanist, including Dalton Baldwin and, worse,
Irwin Gage. (One advantage of Munteanu's recordings is that the pianist is a
musician on the same exalted level.)
-david gable
Terry Simmons
> Could any Schubert lieder fans help me with their recommended recordings?
> I'm trying to slowly work my way through the Hyperion edition but it's just
> so momumental I'm a bit lost. So far what really works for me is the
> Fassbaender volume which I find deeply moving, also the Auger volume (maybe
> not as consistent, but worth it for Thekla D595 alone I thought). For some
> reason Janet Baker just doesn't do it for me, never has, I don't know why.
> The Margaret Price volume was lovely, I can listen to Ian Bostridge's
> schöne Müellerin almost endlessly; I'm still waiting to take to the Phillip
> Langridge volume … and that's as far as I've got.
>
> Any recommendations apart from the Hyperion set would also be much
> appreciated - I'm especially interested by historical recordings. I just
> can't get enough of Irmgard Seefried and have bought just about everything
> I can find in the catalogues. Elizabeth Schumann's recital gets a wonderful
> review at amazon for instance.
>
> Many thanks,
>
> Archie
Peter Schreier (tenor) in the three cycles "Schöne Müllerin",
"Schwanengesang", and "Winterreise" are superb. He is accompanied by
Andras Schiff in all three, on Decca.
In fact, Schreier is such an excellent artist that it is well worth trying
to track down all of the Schubert (and Schumann) lieder recordings he has
made, with the Pianists Norman Shetler and Walter Olbertz. These came out
on vinyl on (I think) the Eurodisc label, and many have subsequently been
reissued on Berlin Classics CDs.
I have three further strong recommendations:
1. Teldec 4509-90873-2 Barbara Bonney with Geoffrey Parsons
2. Philips 438-932-2 Hans Peter Blockwitz with Rudolf Jansen
3. EMI 7243 5 74988 2 Brigitte Fassbaender with Aribert Reimann "Winterreise".
I'm sorry to hear Janet Baker isn't your cup of tea.
--
Cheers!
Terry
EG
> news:<Xns94406D04074...@207.217.77.203>...
> > > Fischer-Dieskau takes a certain amount of bashing in this newsgroup
> (though
> > > not nearly as much as in rec.music.opera, where the received opinion is
> that
> > > he is downright awful in every way), but I listened again recently to
> his
> > > 1950s-60s EMI recordings of "Die Schöne Müllerin" and "Schwanengesang"
> (plus
> > > additional individual Lieder), and they are wonderful.
> >
> > Junk!!!! Evidently dfd has not been bashed enough.
> > He is the Murray Perahia of lieder.
> > In other words, should be played only in two star hotel lobbies.
>
>
> dfd? what dfd?
>
> did you mean "diet rich fisher this cow"?
>
>
>
> dk
notice that d and f are closely positioned on the keyboard, hence it
is very convenient
to produce dfd.
for example: dfd dfd dfd dfd dfd dfd
Terry Simmons
<pgol...@newsguy.com> wrote:
An interesting comment, but just to balance the scales, I consider Pears
to have been one of the 20th Century's finest singers. Having heard him
onstage, I can attest to the power and sweetness of his singing -- virtues
that were, in my opinion, for some reason diminished by the microphone.
--
Cheers!
Terry
David7Gable
>heard
>on Danacord.
But have you heard Munteanu?
>I would avoid Schwarzkopf and Schumann like the plague in Schubert, but many
>will tell you otherwise.
I avoid Schwarzkopf like the plague.
-david gable
David7Gable
>> newsgroup (though not nearly as much as in rec.music.opera,
>> where the received opinion is that he is downright awful in
>> every way),
>
>
Yes, and for the wrong reason: because he isn't a Verdi baritone with a big
fat juicy voice. If a singer has a big voice with a ringing top, that singer
is great according to rmo consensus. No other aspect of singing is even
noticed.
-david gable
David7Gable
Despite the qualifying adjective, this is gross understatement. The
Domingo-bashing there is obsessive and pathological. (I'm not particularly a
fan, but I do respect the man, his voice, and his singing.)
-david gable
David7Gable
>what the rmo'ers with the loudest voices and the greatest number
>of posts write? I think you are.
He's not counting the lurkers who are afraid to post for fear of being pounced
on. I know for certain that they exist because I've received e-mail from a few
of them over the years.
-david gable
Mazzolata
I would second the recommendations for
Fischer-Dieskau/Demus - Winterreise
Wunderlich/Giesen - Schone Mullerin
Quasthoff/Zeyen - SChwanengesang
Anyone looking for an introductory set of some of Schubert's most well
known songs sung by Soprano, there is a nice set by Felicty Lott w.
Graham Johnson on piano that I got for almost nothing at Berkshire.
--
------------------------------------------------------------------
Got to get behind the mule
in the morning and plow
Paul Goldstein
>
>>The greatest Die Schoene Muellerin remains the one by Aksel Schiotz, best
>>heard
>>on Danacord.
>
>But have you heard Munteanu?
No, but I would certainly like to.
>>I would avoid Schwarzkopf and Schumann like the plague in Schubert, but many
>>will tell you otherwise.
>
>I avoid Schwarzkopf like the plague.
Schwarzkopf is the Uchida of Schubert Lied-singers.
Paul Goldstein
Larry Rinkel
> is very convenient
> to produce dfd.
> for example: dfd dfd dfd dfd dfd dfd
True, they are only a minor third apart.
Raymond Hall
news:20031128032912...@mb-m04.aol.com...
| > I can't really like his Winterreise, because he had hardly any
| > voice left when he sang it.
|
| I'll take Patzak without voice any day over the "would you like to
| have some Winterreise with your tea?" of Pears/Britten.>
|
| This raises the question of 'what is a singer' - a voice or a whole
| personality. Why was Billie Holiday loved by so many when she hardly had a
| voice at all?
Exactly. Nail hit squarely on the head. Partly because she always worked
with great jazz musicians, partly because she projected a fragility and
meaning based upon her own experiences, partly because she sang meaningful
20th century lyrics, and partly because the dynamic and power of her voice
suited the conveyance of the message to a T, and partly because the message
epitomised her whole being, and it clearly showed in the projection thereof.
Case closed.
Regards,
# http://www.users.bigpond.com/hallraylily/index.html
See You Tamara (Ozzy Osbourne)
Ray, Taree, NSW
J. R. Robinson
> What I did want to ask though is why did everyone stay away
> from recommending the Pears/Britten "Winterreise"? I usually
> plod along with a very out of date Penguin guide, and I bought
> it on their recommendation. And I liked it a lot, though it's
> the only version I have so haven't got any comparisons (yet!).
> I just wondered whether it was considered to be flawed in some
> way.
>
> Thanks for all the help,
>
> Archie
The Pears/Britten recording was my introduction to <Winterreise>,
and I've alway had a soft spot for it. I've yet to hear a
pianist I like better than Britten in this work, and their
accounts of the final two songs remain my favorites. On the
whole, however, I prefer the wartime German Radio recording of
tenor Peter Anders and pianist Michael Raucheisen on DG.
Raucheisen's contribution is nothing to e-mail home about, but
Anders sings with tremendous authority and conviction, and his
focus and intensity are second to none. At this point in his
career, Anders was a lyric tenor working his way up the dramatic
ladder to dramatic/Heldentenor, and his is the extroverted and
intensely dramatic performance of a natural opera singer singing
lieder. Some listeners find his approach emotionally overwrought
and too operatic for lieder, which I can appreciate, but it works
for me. In any event, it's a rare and wonderful thing to hear a
voice that is at once so powerful and so fluent, agile, and
precise.
As for flaws in the Pears/Britten recording, if you listen to
Pears soon after listening to Anders, or to any good singer whose
native language is German, you may notice how "unique" (quirky
and unidiomatic) Pears' German is at times. I say that with
precious little authority, as my German sucks, but there are some
moments in Pears' recording when even I raise an eyebrow.
J. R. Robinson
Denver, Colorado
Matthew燘. Tepper
letters to be typed in news:20031128190525...@mb-m12.aol.com:
I admit I *am* a fan, though not an uncritical one; and I found that same
"o & p" bashing severe enough that I dumped lots of people into my killfile
and put several subject line words into my score file, in each case so I
simply wouldn't have to waste most of my Usenet-reading time wading through
all the tiresome rubbish. (I do the same with any political discussion
threads, too, so that I simply don't even see them.)
But the most disturbing thing is the people who bash Domingo because of
some perceived slights he supposedly performed to Richard Tucker, or else
on the basis of his busy and honored career.
Matthew燘. Tepper
That's how some of them judge tenors too, which means they love certain
ones for all the wrong reasons.
Andrew T. Kay
>| This raises the question of 'what is a singer' - a voice or a whole
>| personality. Why was Billie Holiday loved by so many when she hardly had a
>| voice at all?
>
>Exactly. Nail hit squarely on the head. Partly because she always worked
>with great jazz musicians,
And was one herself.
>partly because she projected a fragility and
>meaning based upon her own experiences, partly because she sang meaningful
>20th century lyrics,
Well...sometimes, but in the interest of complete honesty, one must admit that
at least a good half of them (especially from her early, jukebox "race records"
period, but also too often at Decca) were middling-to-ghastly. She only got
consistently first-class material when she hooked up with Granz at Verve, near
the end.
>and partly because the dynamic and power of her voice
>suited the conveyance of the message to a T, and partly because the message
>epitomised her whole being, and it clearly showed in the projection thereof.
>
>Case closed.
I agree with much of that, but one of her great strengths you didn't mention is
perhaps the one that draws me to her most of all -- her remarkable natural
gift, even genius, in the areas of musical phrasing and improvisation. It still
startles me at times to hear what she was able to do even when barely out of
her teens, with virtually no training, in terms of reshaping, refining, and
often boldly recasting melodies as they were given to her -- oftentimes she was
more advanced and further out there in her on-the-fly "compositions" than were
her horn soloists!
And, I must offer a qualified defense of the voice. Though a slender resource
as singing voices go -- never as pure and creamy as Ella Fitzgerald's, as
limber and virtuosic as Sarah Vaughan's, as chameleon-like in its capabilities
as Ethel Waters's, or as overwhelming in its power as Dinah Washington's -- it
was a quite pleasant one to hear in her youth. It was only in her later years
(about 1948 on?), after years of vocal abuse and other abuse, that it became a
raspy husk of its former self, and those who stuck with her did so largely
because of the compensations of her undimmed artistry. In this respect and some
others, she was the Callas of jazz singers.
--Todd K
Andrew T. Kay
>>
>>> Fischer-Dieskau takes a certain amount of bashing in this newsgroup
>>> (though not nearly as much as in rec.music.opera, where the received
>>> opinion is that he is downright awful in every way),
>>
>> So this is the received opinion on rmo?
>
So, I guess if you locked them all in a room and played selections from the
Jochum _Meistersinger_ over and over, they'd eventually be writhing around on
the ground and covering their ears? It's a nice mental picture, anyway.
There are some good posters still there injecting sense into the discussions,
but some of those r.m.o.-ers who are so vicious about Domingo and Fi-Di lose
credibility with me when they start naming singers they prefer. Not that I'm an
uncritical worshiper of either of these guys, or find them above criticism, but
they're *worlds* better than some of the slovenly, clumsy hacks in their
respective vocal categories, who get praised to the skies on that group because
they once made a big exciting noise that could be heard in the far corners of
the opera house when somebody was 16 years old. The "artistry by decibels"
school.
--Todd K
Andrew T. Kay
> If a singer has a big voice with a ringing top, that singer
>is great according to rmo consensus. No other aspect of singing is even
>noticed.
Well, David, I think I just needlessly echoed this! I should have read the rest
of the thread before I chimed in -- I could've saved myself a few minutes of
writing with a "what he said."
--Todd K
William Quentin (bloom)
<oy兀earthlink.net> wrote:
>david...@aol.com (David7Gable) appears to have caused the following
>letters to be typed in news:20031128190525...@mb-m12.aol.com:
>
>>> There is also heavy Domingo-bashing there [at rmo].
>>
>> Despite the qualifying adjective, this is gross understatement. The
>> Domingo-bashing there is obsessive and pathological. (I'm not
>> particularly a fan, but I do respect the man, his voice, and his
>> singing.)
>
>I admit I *am* a fan, though not an uncritical one; and I found that same
>"o & p" bashing severe enough that I dumped lots of people into my killfile
>and put several subject line words into my score file, in each case so I
>simply wouldn't have to waste most of my Usenet-reading time wading through
>all the tiresome rubbish. (I do the same with any political discussion
>threads, too, so that I simply don't even see them.)
>
>But the most disturbing thing is the people who bash Domingo because of
>some perceived slights he supposedly performed to Richard Tucker, or else
>on the basis of his busy and honored career.
I number myself one of Domingo's fans as well. Even so, I certainly
don't mind hearing criticisms of him, or interesting conversations and
debates about his merit as a singer. After all, that's the point of
usenet, right? Of course, that's not what one hears in RMO. Rather,
one simply hears crazy rants from the same lunatics over and over. It
didn't take long for me to figure out that RMO was a place I had no
desire to frequent. ;-)
-Billy
William Quentin (bloom)
<j...@NOSPAMtotalspeed.net> wrote:
>Archie Bubbles wrote:
>
>> What I did want to ask though is why did everyone stay away
>> from recommending the Pears/Britten "Winterreise"? I usually
>> plod along with a very out of date Penguin guide, and I bought
>> it on their recommendation. And I liked it a lot, though it's
>> the only version I have so haven't got any comparisons (yet!).
>> I just wondered whether it was considered to be flawed in some
>> way.
>>
>> Thanks for all the help,
>>
>> Archie
>
>The Pears/Britten recording was my introduction to <Winterreise>,
>and I've alway had a soft spot for it. I've yet to hear a
>pianist I like better than Britten in this work, and their
>accounts of the final two songs remain my favorites.
The Pears/Britten was my first Winterreiese, too, and so I also have a
soft spot for it. But I don't think I'm being merely myopic - I think
there is much to recommend the recording. As others have said,
Britten is fantastic at the piano, and Pears, while he struggles with
some songs, is mostly very good. Finally, I agree with JR that
Pears/Britten are amazing in Die Nebensonnen and Der Leiermann.
My favorite recording, however, is Hotter/Moore on EMI. I feel these
songs benefit greatly from a deeper voice singing them.
-Billy
Alan Cooper
wrote:
>Any recommendations apart from the Hyperion set would also be much
>appreciated - I'm especially interested by historical recordings. I just
>can't get enough of Irmgard Seefried and have bought just about everything
>I can find in the catalogues. Elizabeth Schumann's recital gets a wonderful
>review at amazon for instance.
I've been following this thread with interest. I learned a lot of
this repertoire when I was singing more seriously, but didn't collect
many recordings of it. I share your admiration for Seefried, and also
second all of the recommendations of Elly Ameling. Her recording of
"Shepherd on the Rock" on that old HM / RCA Victrola LP is probably my
favorite single Schubert recording, although Margaret Price also does
the piece magnificently.
Among male singers, I have been surprised to see little or no mention
of Gerhard Huesch or Jorma Hynninen. Huesch's '30s recordings set a
very high standard in Schoene Muellerin and Winterreise, I think, and
although there are a few wonderful baritones doing Lider nowadays, I
don't think any of them has a more sheerly beautiful voice than
Hynninen. He is fortunate in his accompanist, too: Gothoni is a
terific artist in his own right.
AC
Matthew燘. Tepper
following letters to be typed in
>>> "Matthew燘. Tepper" <oy兀earthlink.net> wrote
>>>
>>>> Fischer-Dieskau takes a certain amount of bashing in this newsgroup
>>>> (though not nearly as much as in rec.music.opera, where the received
>>>> opinion is that he is downright awful in every way),
>>>
>>> So this is the received opinion on rmo?
>>
>> Sadly, yes. There is also heavy Domingo-bashing there.
>
> So, I guess if you locked them all in a room and played selections from
> the Jochum _Meistersinger_ over and over, they'd eventually be writhing
> around on the ground and covering their ears? It's a nice mental picture,
> anyway.
Especially since some of the denizens of that newsgroup are also ardent
Wagner-haters. And even among the non-Wagner-haters there, the Jochum
recording comes in for frequent bashing even apart from those two singers.
> There are some good posters still there injecting sense into the
> discussions, but some of those r.m.o.-ers who are so vicious about
> Domingo and Fi-Di lose credibility with me when they start naming singers
> they prefer. Not that I'm an uncritical worshiper of either of these
> guys, or find them above criticism, but they're *worlds* better than some
> of the slovenly, clumsy hacks in their respective vocal categories, who
> get praised to the skies on that group because they once made a big
> exciting noise that could be heard in the far corners of the opera house
> when somebody was 16 years old. The "artistry by decibels" school.
I hear you!
EG
Time for you to come out clean and admit that you are a closet
Schubert Lieder lover.
Raymond Hall
Ok, I'll admit it. I hide in the closet when the stuff is being played.
<g>
With luck, I should get it played in the closet. More convenient all round.
Michael Lehrman
news:865b3182.03112...@posting.google.com...
> Mostly chiming in with other posters, but to recap:
>
>
> Just heard Vinogradov's Schone Mullerin (Melodiya, on a recent Guild
> compilation) which I find he has just the right sort of voice and
> approach -- light, fresh, young. Not the best vocal technique though.
>
I am not sure if this is a vocal technique or a poor translation to the
wrong language. With Schubert the very sounds of words are frequently so
important as to almost create a separate musical line. It is less so with
Schumann, so, the question of GV's technique hardly rises there. In fact, at
the beginning of the Mullerin, awkward choices of Russian words even cause
GV to loose some clarity of diction, which otherwise is exemplary. I have
just received my Guild set, and re-heard the Mullerin first time after more
than 20 years. My first reaction was similar to yours, but in the repeat
listening the old magic kicked in. I only wish that he showed a little less
restrained in some places (don't mean international banquets).
ML
David7Gable
>school.
>
>--Todd K
The artistry by decibels school. I'll have to remember to use that!
-david gable
David7Gable
>writing with a "what he said."
True. But then you wouldn't have come up with "the artistry of decibels
school."
-david gable
JJ
news:77a67936.03112...@posting.google.com:
> Paul Goldstein <pgol...@newsguy.com> wrote in message
> news:<bq58n...@drn.newsguy.com>...
>> In article <Xns94406DF4D394ar...@195.92.193.157>,
>> Archie Bubbles says...
>> >
>> >Could any Schubert lieder fans help me with their recommended
>> >recordings?
>>
>> I like most of Janet Baker's Schubert recordings very much, so take
>> these recommendations with a grain of salt.
>>
>> My favorite Schubert Lieder singer generally is Elly Ameling. Any of
>> her Philips or Harmonia Mundi CDs are highly recommended. Mike
>> Painter rightly singles out her sublime HM "Der Hirt auf dem Felsen."
>>
> She's my favorite too. Philips put out a 4-CD set of Ameling singing
> Schubert accompanied by Dalton Baldwin and Rudolf Jensens. There's
> also an Ameling/Schubert recital from Tanglewood on Omega and one
> Hyperion disk (where she's a bit past her best point).
>>
>>
Also my favorite. The Schubert Philips box is indispensable.
Other Schubert lieder favorites include the Schwarzkopf/Fischer recital,
Fischer-Dieskau EMI recordings, Schreier's Winterreise with Richter and
complete song cycles with Schiff, all the Hotter recordings.
Jon
Matthew燘. Tepper
letters to be typed in news:20031129193414...@mb-m12.aol.com:
>> The "artistry by decibels" school.
>>
>>--Todd K
>
> The artistry by decibels school. I'll have to remember to use that!
In opera it's called, of course, "can belto."
Edward A. Cowan
months ago, is one of the finest recordings of anything in the
repertoire. Both artists are operating a an exalted level. The result
is a performance so intense that it hurts.
To be sure, I do enjoy other recordings of this cycle... --E.A.C.
Mazzolata <mazz...@hotmail.com> wrote in message news:<3FC7F02A...@hotmail.com>...
aesthete8
stereo.
I never liked "Nahe Des Geliebten" until I heard Koth's recording.
And her "Du Bist Die Ruh" is wonderful.
Alan Cooper <noad...@anywhere.com> wrote in message news:<1sohsvs2dj08go7qk...@4ax.com>...
Philip Peters
Edward A. Cowan wrote:
> The DFD/Demus "Winterreise", which I listened to once more just a few
> months ago, is one of the finest recordings of anything in the
> repertoire. Both artists are operating a an exalted level. The result
> is a performance so intense that it hurts.
>
> To be sure, I do enjoy other recordings of this cycle... --E.A.C.
If I had to choose *one* Winterreise(which I can't) it would be this one.
Philip
Celia A. Sgroi
> Avoid Gerhardt and listen to dfd?????????? What is the world coming
> to....
Elena Gerhardt was an appallingly poor singer technically, who
obviously was as unmusical as she was voiceless. If you measure
singers by her, you need to have your ears cleaned.
> Tauber was a great singer and his lieder are wonderful and inimitable.
Richard Tauber was a great operetta singer, and his lieder are
pleasant but no great shakes. And that includes his 50% "Winterreise."
> It is strange to hear him labelled as an operetta singer and being
> underrated. Janssen and Kipnis and Huesch are excellent.
Herbert Jansen was remarkable, but there are barely enough of his
Lieder recordings around to fill one CD. It's a tragedy. Huesch and
Kipnis were fine singers, but there are a number of late 20th century
singers who are their equals, if not superiors, starting with one DFD,
whom you despise so much.
> Lehmann was a goddess.
Lotte Lehmann was a great Lieder singer. Unfortunately, if you start
looking at just how many Lieder she actually recorded, it isn't all
that many. There are a lot of duplications, unfortunately.
It is amazing to see people nitpicking on various vocal
> "defects" of Lehmann, Tauber, etc. and looking for the lifeless,
> characterless, bland and uniform
> sound production that is called singing nowadays.
Well, if you don't like lifeless, characterless, bland and uniform
sound production, maybe you ought to try listening to Fischer-Dieskau
with your ears open and your brain switched on. And after that, listen
to Peter Schreier, Brigitte Fassbaender, Janet Baker, and, among young
singers, Dietrich Henschel. You might be pleasantly surprised.
> Singing is a dead art, even more dead than the rest of classical
> music. If you are interested in it,
> you have to look back. The farther back you look, the greater singers
> you will find.
The farther back you look, the more reconstituted, refurbished,
remastered, and recreated recordings you find. What astonishes me is
how, with all that technical tweaking, no one has ever been able to
make Elena Gerhardt sound good.
> In any case, make sure that you listen to Schlusnus. After that, your
> dfd will serve you well as a coaster.
Absolutely, especially if you can ignore Schlusnus's wandering pitch.
Celia A. Sgroi
sg...@oswego.edu
music...@gmail.com
http://www.1000recordings.com/music/12-lieder-moments-musicaux/
Herman
> This is what the book "1,000 Recordings to Hear Before You Die" has to say:
>
>
>
> http://www.1000recordings.com/music/12-lieder-moments-musicaux/
O
> This is what the book "1,000 Recordings to Hear Before You Die" has to say:
>
> http://www.1000recordings.com/music/12-lieder-moments-musicaux/
-Owen
John Wiser
jdw
O
expensive CD's can be sent.
-Owen, "...greatly exaggerated."