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Thread: Winterreise

  1. #31
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    Quote Originally Posted by wkasimer View Post
    A few sopranos off the top of my head - Barbara Hendricks, Lotte Lehmann, and Lois Marshall.
    Brigitte Fassbaender's recording accompanied by Aribert Reimann is particularly good.

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    Senior Member elgars ghost's Avatar
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    Quote Originally Posted by Reichstag aus LICHT View Post
    Brigitte Fassbaender's recording accompanied by Aribert Reimann is particularly good.
    I like her Schwanengesang set with Reimann but I'd like to compliment it with a recording by a male singer.
    '...a violator of his word, a libertine over head and ears in debt and disgrace, a despiser of domestic ties, the companion of gamblers and demireps, a man who has just closed half a century without a single claim on the gratitude of his country or the respect of posterity...' - Leigh Hunt on the Prince Regent (later George IV).

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    Senior Member Fritz Kobus's Avatar
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    Quote Originally Posted by Reichstag aus LICHT View Post
    Brigitte Fassbaender's recording accompanied by Aribert Reimann is particularly good.
    Agree, though she is listed as mezzo-soprano, so I guess she qualifies in the soprano category?
    "All of Italian opera can be heard in [Bellini's] "Ah! non creda [mirarti]."
    --Renata Scotto in "Scotto, More Than a DIva."

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  6. #34
    Senior Member Dimace's Avatar
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    Quote Originally Posted by Fritz Kobus View Post
    Agree, though she is listed as mezzo-soprano, so I guess she qualifies in the soprano category?
    Brigitte is qualified simply for everything! Unbelievable voice range and quality beyond this earth! She made the BEST Liszt songs EVER! Everything she's doing is for me a must!
    Alles Vergängliche ist nur ein Gleichnis;
    das Unzulängliche, hier wird's Ereignis;
    das Unbeschreibliche, hier ist's getan;
    das Ewig-Weibliche zieht uns hinan.

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  8. #35
    Senior Member wkasimer's Avatar
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    Quote Originally Posted by elgars ghost View Post
    I like her Schwanengesang set with Reimann but I'd like to compliment it with a recording by a male singer.
    Try Bryn Terfel, Matthew Rose, Hans Hotter, or Gunther Groissböck.

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  10. #36
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    Quote Originally Posted by moody View Post
    When Schubert introduced his friends to "Winterreise" he announced :'I will sing for you a cycle of Schauerlich (shuddering) lieder.'
    So I am sure that normally the cycle suits the darker voice ,there are exceptions however.But note that that the work's first published edition was within the normal baritone range.
    That being said one of the most interesting versions is that by the legendary Lotte Lehmann pieced together from recordings made between 1939-40 .It is in an entirely convincing grand romantic Byronic style.
    The baritone Gerhard Huesch in his 1930 recording presents an almost Lear-like tragic view,' he pushes out its meaning through consonants and vowels exquisitely placed in legato arches'.
    Hans Hotter's definitive recording is that of 1955 with Gerald Moorenwhich expresses many shades of darkness as well as brighter, more convincing moments of what he clearly sees as hope. He is a bass-baritone.
    The great Wagner bass Josef Greindl recorded the cycle in 1957 for DG and it is almost mesmeric, the interpretation is of total weariness and resignation.I hope it becomes available again.
    The other very bleak rendition is that of the tenor Peter Anders live in Cologne in 1948 (Acanta CD}. this is one of the most harrowing versions ever made.
    That of Peter Pears although intelligent and obviously caring is, for me, put out of court by the relatively poor German.
    Gerrard Souzay's 1963 recording presents a strong,immediate and intense reading with his marvellous accompanist Dalton Baldwin.
    I am not keen on Fischer-Dieskau's Schubert.

    "Schwanengesang" was invented after Schubert's death by his publisher sticking together seven Rellstab and six Heine settings and Seidl's "Taubenpost" was thrown in to avoid an unlucky number. It was given a 'lachrymose,catchpenny title because the Seidl song was the composer's last'.
    The title has stuck and, more unfortunately, the sense that this miscellany must be respected and made somehow to adhere'.

    "Die Schoene Muellerin" is at the opposite end of the spectrum from "Winterreise", the 'hero' is an apprentice miller lad and therefore
    the ideal singer is from the tenor range.
    The thing with this cycle is to avoid the overtly interventionist approach as displayed by DF-D. where songs tend to be over phrased and tonal contrasts pushed to excess..Lucky Patcher 9Apps VidMate thus vitiating the obvious beauty of the singers tone.
    The tenor Aksel Schiotz tends toward the other extreme ,relying on tonal beauty and the overriding importance of line, I play this often.
    A baritone has a problem persuading us that he is a boy in love but there is an exception and that is Gerrard Souzay. His recording is ,to me, the most satisfying and he does suggest a young man by lighteninmg his tone so cleverly.
    Peter Schreier has recorded it successfully and also versions with a) fortepiano and b) guitar.
    did you make sure that the most interesting version is that of the legendary Lotte Lehmann, reconstituted from recordings made between 1939 and 1940? because I read in another book that the version was made between 1938 and 1939
    thank you very much in any case for this information
    Thank you for this valuable information that you have been looking for since time

  11. #37
    Senior Member Fritz Kobus's Avatar
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    Here is something interesting I found. Fassbaender and Ludwig have recorded Winterreise multiple times:

    Fassbaender: Aribert Reimann, piano 1988
    Fassbaender: Wolfram Rieger, Piano 1995

    Ludwig: James Levine, piano 1983
    Ludwig: James Levine, piano 1986
    Ludwig: James Levine, piano 1988
    Ludwig: Erik Werba, piano 1978
    Ludwig: Erik Werba, piano 1980
    Ludwig: Erik Werba, piano 1984
    Ludwig: Erik Werba, piano 1986
    Last edited by Fritz Kobus; Jan-16-2019 at 04:45.
    "All of Italian opera can be heard in [Bellini's] "Ah! non creda [mirarti]."
    --Renata Scotto in "Scotto, More Than a DIva."

  12. #38
    Senior Member Fritz Kobus's Avatar
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    Anybody know about this one:
    "All of Italian opera can be heard in [Bellini's] "Ah! non creda [mirarti]."
    --Renata Scotto in "Scotto, More Than a DIva."

  13. #39
    Senior Member wkasimer's Avatar
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    Quote Originally Posted by Fritz Kobus View Post
    Here is something interesting I found. Fassbaender and Ludwig have recorded Winterreise multiple times:

    Fassbaender: Aribert Reimann, piano 1988
    Fassbaender: Wolfram Rieger, Piano 1995

    Ludwig: James Levine, piano 1983
    Ludwig: James Levine, piano 1986
    Ludwig: James Levine, piano 1988
    Ludwig: Erik Werba, piano 1978
    Ludwig: Erik Werba, piano 1980
    Ludwig: Erik Werba, piano 1984
    Ludwig: Erik Werba, piano 1986
    I suspect that there's only one studio recording by Christa Ludwig; the others would be broadcasts of live recitals.

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  15. #40
    Senior Member wkasimer's Avatar
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    Quote Originally Posted by Fritz Kobus View Post
    Anybody know about this one:
    It's a very good performance, if one doesn't mind a woman singing. I don't, but I do prefer hearing a tenor or high baritone in this cycle. I'd say that it's a recording that is worth for someone who already has a dozen or so recordings of Winterreise. Among women who've recorded the cycle, I would say that both Fassbaender and Lehmann are more compelling.

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  17. #41
    Senior Member Fritz Kobus's Avatar
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    Quote Originally Posted by wkasimer View Post
    It's a very good performance, if one doesn't mind a woman singing. I don't, but I do prefer hearing a tenor or high baritone in this cycle. I'd say that it's a recording that is worth for someone who already has a dozen or so recordings of Winterreise. Among women who've recorded the cycle, I would say that both Fassbaender and Lehmann are more compelling.
    I am more female singer oriented, but if I buy a male vocal Winterriese, it would be Jonas Kaufmann. Lois Marshall is very captivating to me and I am inclined to get it, but should check out Lehmann. I have Stutzmann (contralto) and Fassbaender (alto) and enjoy both. There also is one sung in English translation but I think that would be a letdown. I rather shall study the English translation so I know it and continue to listen in German. Oh, I saw Joyce DiDonato sing this in December and it was awesome. If she records it I'll be buying.
    "All of Italian opera can be heard in [Bellini's] "Ah! non creda [mirarti]."
    --Renata Scotto in "Scotto, More Than a DIva."

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