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Liederen (Duitsland) - Verschenen op 31 mei 2019 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Qobuzism
Born in a small Norwegian village in 1987 (and is thus inevitably compared to her long-time compatriot Kirsten Flagstad), soprano Lise Davidsen was almost built to embody Wagnerian and Straussian heroines. For her first record under the label Decca, with whom she has signed an exclusive contract, she has chosen to present several facets of femininity in the vocal stylings of Elisabeth (Tannhäuser), Ariane (Ariane à Naxos) and… Pauline. Pauline being Richard Strauss’ beloved wife to whom he dedicated many Lieder from his opus 27 - the 1894 cycle offered to his wife as a wedding gift - until the last Vier letzte Lieder in 1948.Under the supple baton of Esa-Pekka Salonen, the Philharmonic Orchestra embraces the brassy voice of the Norwegian soprano with finesse and elegance. As you will see, this record, with its carefully devised programme, oscillates between youth and old age, in the presence of ghosts and death. You may wonder how one can express mortality at just 30 years old with such a powerful timbre, radiant health and a whole life ahead of you. The answer lies in Lise Davidsen’s voice, which upsurges as if it were a promise of immortality, the music of the last Strauss piece returning one last time to its past, to a Europe in ruins.Discovered in 1984, after the death of the singer and dedicatee Maria Jeritza, Malven (“The Mallows") is Richard Strauss’ true “last song”. Lighter in tone than the Vier letzte Lieder to which it might have belonged, it is presented here in an orchestration by Wolfgang Rihm. © François Hudry/Qobuz
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Liederen (Duitsland) - Verschenen op 16 november 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Record of the Month
Very different from Schubert’s Lieder, which are chants according to German “popular” tradition (usually strophic) with a musical accompaniment subservient to the singing (taking nothing away from their incredible genius!), Schumann’s are, to use Christian Gerhaher’s words, “lyrical dramaturgy”; miniature operas in which the piano and vocals are equal in content. This doesn’t explain why Schumann’s Lieder are so rarely performed in concert, with the exception of some well-worn cycles (normally Myrten, Dichterliebe and Frauenliebe und –leben). Gerhaher and his pianist Gerold Huber pick works from the genre’s ample repertoire that have almost never been performed in concert. Only three cycles date back to the “Liederyear” of 1840 (incidentally the year of his marriage to Clara Wieck), while the others are from the composer’s last years, beyond 1850, and are full of nostalgia… This is far from the dishevelled romanticism of his early years, the mood is dark and the discourse broken up into small brushstrokes. The contrast from one era to the other is striking. Gerhaher and Huber perform these surprising marvels brilliantly. © SM/Qobuz
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Liederen (Duitsland) - Verschenen op 9 november 2018 | Orfeo

Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
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Liederen (Duitsland) - Verschenen op 19 april 2019 | Alpha

Hi-Res Booklet Onderscheidingen Choc de Classica
Julian Prégardien decided to record the Dichterliebe cycle after he came across the new Bärenreiter edition; he went on to explore the work in concerts with his constant accompanist, Eric Le Sage, inserting other works by Robert and also by Clara Schumann, whose bicentenary is celebrated in 2019. When Clara played the Dichterliebe in the 1860s, she used to slip extracts from Kreisleriana between the songs. Prégardien asked Eric Le Sage to record the same extracts on a Blüthner piano of 1856, the year of Robert’s death, and also to include Romances composed by both Robert and Clara at a time when their future marriage was still uncertain. The sublime ballade Löwenbraut also forms part of the programme – a reminder of the young Robert’s anguish on Clara’s departure. At Julien’s suggestion, Sandrine Piau was invited to sing three duets: a simple Canon composed by Clara, and two duets by Robert, Wenn ich ein Vöglein wär, and the sublime In der Nacht. Four further songs complete the recording: Sängers Trost, a short piece in belcanto style; Kurzes Erwachen, composed by Robert at the age of just eighteen; Aus den hebräischen Gesängen, a very melancholy song; an extract from the cycle Myrthen (Robert’s wedding present to Clara); and Mein Wagen rollet langsam, a song that was included in the composer’s first version of Dichterliebe. The Dichterliebe songs micht have been expected to show Schumann triumphantly rejoicing in that year of 1840 when he was finally able to marry Clara; and yet they are characterised by bitter irony, nostalgic Sehnsucht, and a sense of dread… © Alpha Classics
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Liederen (Duitsland) - Verschenen op 5 oktober 2018 | Challenge Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Liederen (Duitsland) - Verschenen op 19 oktober 2018 | Orfeo

Hi-Res Booklet Onderscheidingen Diapason d'or
Finally, a happy record! It’s a simple recipe: take four experienced singers who know each other well, add two complicit pianists, then pick out some works that are bursting with happiness. It’s rare to find such happiness in Schumann and Brahms’ work. The two composers shared a tendency to lean towards melancholic music, a "Sehnsucht" style which is so characteristic of German romanticism. Schumann wrote Spanisches Liederspiel Op. 74 in 1849. It’s a kind of love story, the first steps towards happiness. The work requires a theatrical and playful performance, which was perfectly accomplished here at this concert from the end of the 1974 Salzburg Festival, once the press had left the establishment. While there are few written traces that remain of this concert, the recording has preserved it for us. Here, Orfeo brings us this little miracle with four soloists at the top of their game, accompanied by two pianists who are well accustomed to the difficult task of supporting the singers. Shumann’s rare work is complemented by Brahms' famous eighteen vocal waltzes, given the collective title of Liebeslieder-Walzer Op. 52. An exceptional musical achievement. © François Hudry/Qobuz
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Liederen (Duitsland) - Verschenen op 14 september 2018 | SWR Classic

Booklet Onderscheidingen Diapason d'or
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Liederen (Duitsland) - Verschenen op 21 september 2018 | Supraphon a.s.

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Liederen (Duitsland) - Verschenen op 2 november 2018 | Solo Musica

Hi-Res Booklet Onderscheidingen Diapason d'or
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Liederen (Duitsland) - Verschenen op 5 oktober 2018 | CPO

Booklet Onderscheidingen 5 de Diapason
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Liederen (Duitsland) - Verschenen op 11 januari 2019 | Naxos

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Liederen (Duitsland) - Verschenen op 11 januari 2019 | Warner Classics

Hi-Res Booklet
By turns ecstatic and deeply depressed, as is the way with bipolar disorders, Hugo Wolf gave the world great and precious masterpieces in the genre of the lied with his great cycles, in particular Italienisches Liederbuch, for two voices, which represents the soul of the art. 46 lieder speak of love, focusing on the tangled feelings of man and woman across lovers' dialogues in ironic, gallant and impassioned tones. Written around words by Paul Heyse based on anonymous Tuscan poems, this collection is full of ballads, and in particular rispetti (compliments), folksy poems made up of two quatrains. The German translation seriously disfigures the light touch of the Italian original, especially as Hugo Wolf makes no attempt to "do Italian" in his compositions. “I assure you: a warm heart beats in the little chests of my youngest southern children, who, despite everything, cannot hide their German origins. Yes, their hearts beat in German, even though the sun shines in Italian", he told a friend. This Italian collection is made up of, as Stéphanie Goldet writes, "little love stories, moments of impatience or frustration, wishes and warnings, complaints and recriminations, demands and unconditional surrenders". Recorded in concert at the Hesse Philharmonic on 18 February 2018, this new recording ranks alongside other legendary records such as those by Schwarzkopf and Fischer-Dieskau; it will surely become a new reference point version. While it was reasonable to worry about Jonas Kaufmann's voice, we can hear that it has recovered all its strength and its thousand and one miraculous nuances. His partner, Diana Damrau, is radiant, with a song that brings together the many different emotions of a worried and sometimes mischievous young girl. But this dialogue would be nothing without the subtle and refined piano-playing of Helmut Deutsch, who has given these miniatures such an irresistible accompaniment. © François Hudry/Qobuz