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Liederen (Duitsland) - Verschenen op 15 juni 2015 | INA Mémoire vive

Onderscheidingen Diapason d'or - 4 étoiles du Monde de la Musique - Timbre de platine - 10 de Classica-Répertoire - The Qobuz Ideal Discography
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Liederen (Duitsland) - Verschenen op 10 februari 2014 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or / Arte - Choc de Classica - Exceptional sound - Hi-Res Audio
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Liederen (Duitsland) - Verschenen op 13 mei 2016 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Award - Gramophone Editor's Choice - Choc de Classica
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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 24 augustus 2018 | Alpha

Hi-Res Booklet Onderscheidingen 4F de Télérama - 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
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Liederen (Duitsland) - Verschenen op 3 november 2017 | Erato

Hi-Res Booklet Onderscheidingen 4F de Télérama - Gramophone Editor's Choice - 5 étoiles de Classica
“Nacht und Träume” takes its name from one of Schubert’s best-loved lieder, which is joined on the album by a further 10 of the composer’s songs. All performed in orchestral versions by such masters as Berlioz, Liszt, Brahms, Strauss, Webern, Britten and Schubert himself, they are complemented by three choral numbers and an orchestral interlude. The singers are rising stars – German mezzo-soprano Wiebke Lehmkuhl and French tenor Stanislas de Barbeyrac – and Laurence Equilbey conducts two ensembles she founded: the Insula orchestra and the choir Accentus. © Warner Classics
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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 31 maart 2017 | harmonia mundi

Hi-Res Booklet Onderscheidingen Choc de Classica - 5 Sterne Fono Forum Klassik
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Liederen (Duitsland) - Verschenen op 6 oktober 2017 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
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Liederen (Duitsland) - Verschenen op 29 april 2016 | harmonia mundi

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica
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Liederen (Duitsland) - Verschenen op 5 mei 2014 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4 étoiles de Classica - Hi-Res Audio
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Liederen (Duitsland) - Verschenen op 3 maart 2017 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
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Liederen (Duitsland) - Verschenen op 14 maart 2014 | Berlin Classics

Onderscheidingen 5 de Diapason - 4 étoiles de Classica
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Liederen (Duitsland) - Verschenen op 14 oktober 2016 | Sony Classical

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
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Liederen (Duitsland) - Verschenen op 7 april 2014 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Hi-Res Audio
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Liederen (Duitsland) - Verschenen op 3 juni 2014 | Myrios Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Exceptional sound
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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 14 september 2018 | SWR Classic

Booklet Onderscheidingen Diapason d'or
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Liederen (Duitsland) - Verschenen op 11 juli 2014 | Sony Classical

Hi-Res Booklet Onderscheidingen Gramophone Award
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Liederen (Duitsland) - Verschenen op 17 juni 2016 | harmonia mundi

Onderscheidingen Diapason d'or