Categories :

Similar artists

Albums

CD$12.99

Vocal Music (Secular and Sacred) - Released November 16, 2012 | Sony Classical

Booklet Distinctions Diapason d'or - 4 étoiles Classica - Exceptional Sound Recording
German baritone Christian Gerhaher has recorded lieder, and his fundamentally gentle, intimate, moderate-sized voice is suited to that genre. Here, however, he steps it up successfully to early Romantic opera, from Schubert up to Wagner's Tannhäuser and Otto Nicolai. If you're wondering about the two separate Schubert operas, that gives you an idea of the value of this vocal-orchestral recital: it touches on some very unfamiliar music and generally does a good job bringing it to life. Schubert's 1823 opera Alfonso und Estrella, not performed until it was revived by Liszt in 1854, has been recorded, but the excerpt from Der Graf von Gleichen, sketched out at the end of Schubert's life and left unfinished (the realization here is by Richard Dünser, made in the 1990s) is a much rarer animal. This is the highlight of the album; in Gerhaher's hands, the aria "O Himmel ... Mein Weib, O Gott, mein süßer Knabe" emerges as a real piece of Schubert's broad and harmonically pathbreaking late style. Another comparative rarity is the excerpt from Schumann's opera Genoveva, usually accounted the great failure of Schumann's later years; Gerhaher gives the excerpt "Ja wart' du bis zum jüngsten Tag" a spiky quality that is quite Wagnerian in its free speech cadences. The more melodic music from Otto Nicolai's Die Heimkehr des Verbannten, also not common on recordings, provides an effective foil. Gerhaher's voice has many surface pleasures, but his accomplishment here is to make the listener want to undertake a fresh hearing of the operas involved. A fine outing from the on-a-roll Sony Classical label, nicely recorded. © TiVo
HI-RES$17.49
CD$12.99

Lieder (German) - Released November 16, 2018 | Sony Classical

Hi-Res Booklet Distinctions 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
HI-RES$17.49
CD$12.99

Lieder (German) - Released October 6, 2017 | Sony Classical

Hi-Res Booklet Distinctions Diapason d'or - 5 Sterne Fono Forum Klassik
CD$14.99

Classical - Released June 27, 2014 | Sony Classical

Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice
HI-RES$17.49
CD$12.99

Lieder (German) - Released March 3, 2017 | Sony Classical

Hi-Res Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
HI-RES$17.49
CD$12.99

Classical - Released October 11, 2019 | Sony Classical

Hi-Res Booklet Distinctions 5 de Diapason
Although he's alone on the cover, baritone Christian Gerhaher has given a lot of space over to soprano Camilla Tilling in his Schumann record. And so the original tones – and therefore the cycle's structure – are preserved. The voices mingle and their dialogue reminds us that these Lieder were presented to Clara like a wedding bouquet. The sound recording sometimes plunges both voice and piano into a maelstrom of noise. But happily, the performers offer an amorous reading of these poems borrowed from Goethe, or Rückert, or Burns. Both singers savour each consonant and give the poems a resounding, perfect pronunciation, and an unerring sense of diction (take Camilla Tilling's oh-so-sensual repetition of Kuß in Die Lotosblume, every bit as distracting as Margaret Price's), and of recital (the successive episodes of Hochländers Abschied take life in the hands of Christian Gerhaher, a virtuoso of nuance). With accompaniment from pianist Gerold Huber, they have created a very fine record that brings to life that marvellous poet of sound, Schumann. © Elsa Siffert/Qobuz
HI-RES$17.49
CD$14.99

Classical - Released August 16, 2013 | Sony Classical

Hi-Res Distinctions 5 de Diapason
Based solely on the excellence of Christian Gerhaher's singing and his highly expressive interpretations of Gustav Mahler's lieder, this album is required listening for all fans of the singer and the composer. But this 2013 Sony release is also essential for Mahler scholars and collectors because it presents the original orchestrations of Lieder eines fahrenden Gesellen, Kindertotenlieder, and Rückert-Lieder, which receive their first recordings here. Kent Nagano and the Orchestre symphonique de Montréal accompany Gerhaher with subtlety and warmth, and the playing is as smooth and rich as Gerhaher's baritone voice, which makes the melodies inviting and moving. The performances on this CD were recorded on two concert dates early in 2012, so the best takes were used, notwithstanding coughs and other audience noises that can be heard occasionally. Even so, the sound is slightly variable in the mixing, so close listening reveals differences that could be due to studio enhancement. However, because the musicianship is so high, and Gerhaher's delivery is so appealing, this recording is definitely worth having, even with its few imperfections. © TiVo
CD$12.99

Classical - Released October 16, 2009 | RCA Red Seal

Distinctions Diamant d'Opéra
HI-RES$14.99
CD$9.99

Art Songs, Mélodies & Lieder - Released March 4, 2016 | BR-Klassik

Hi-Res Booklet Distinctions 4 étoiles Classica
CD$14.99

Art Songs, Mélodies & Lieder - Released June 15, 2012 | Sony Classical

Distinctions 5 de Diapason
Ferne Geliebte, Christian Gerhaher's 2012 Sony release, is a collection of lieder by the masters of the Classical Viennese style, Franz Joseph Haydn and Ludwig van Beethoven, and the chief representatives of the Second Viennese School, Arnold Schoenberg and Alban Berg. While it is indeed interesting to note the contrasts between Classical and modernist styles, which even casual listeners will discern, it is perhaps more rewarding to consider how Gerhaher and his longtime accompanist Gerold Huber move almost effortlessly from the excitable ardor of Beethoven's An die ferne Geliebte to the brooding sehnsucht of Schoenberg's Das Buch der hängenden Gärten, or from the wholesome melancholy of Haydn's Trost unglücklicher Liebe to the existentential angst of Berg's Altenberg Lieder. While it would be easy to play up the emotions of longing and desolation, Gerhaher is controlled and balanced, letting most of the expression come through the melodic lines and tonal shading, rather than through forced declamation. Huber's accompaniment is similarly understated and calibrated to the needs of the songs, so there is a unity of purpose between the artists that makes this album convincing and satisfying. Sony's reproduction is clear and full, and the performers have a credible presence. © TiVo
CD$12.99

Classical - Released August 1, 2004 | RCA Red Seal

Christian Gerhaher is the latest in a long line of expressive and intelligent baritones who have made a specialty of German lieder. With recordings of Mahler's Lieder eines fahrenden Gesellen, Brahms' Vier ernste Gesänge, and Schubert's Die schöne Müllerin, Winterreise, and Schwanengesang already to his credit, Gerhaher has already cut a considerable swath through the standard repertoire of German lieder. With this disc of Schumann's setting of Heine's Dichterliebe and of Lenau's poems grouped as a funeral tombeau, Gerhaher has chosen poems about love, madness, and death by the most literate and arguably the most romantic of the German lieder composers. Gerhaher has an appealing voice: strong and agile with a warm tone and a round sound. Gerhaher has a fine sense of the emotions expressed in the music from the heartfelt irony of the Heine lieder to the attenuated sentimentality of the Lenau lieder. And Gerhaher has a firm grasp of the symbiosis of words and music and the levels of meaning commingled in their fusion. If Gerhaher's performances have a flaw, it is his ambition to do it all right now, to infuse his performances with so much significance that they nearly sink under their own interpretive weight. RCA's sound is big and close but perhaps too intimate. © TiVo
CD$19.49

Classical - Released November 1, 2013 | Sony Classical

CD$12.99

Classical - Released March 25, 2011 | RCA Red Seal

CD$12.99

Classical - Released December 31, 1999 | ARTE NOVA Classics

CD$12.99

Classical - Released January 18, 2006 | RCA Red Seal

While not all of the 17 Schubert songs collected here under the title Abendbilder (Evening Images) deal specifically with the evening, most are at least tinged with the melancholy that's associated with the end of the day in the romantic imagination, and baritone Christian Gerhaher's passionate sensibility brings that melancholy to the fore. Gerhaher's voice has matured since his fine 2001 recording of Der Winterreise and his interpretive skills have deepened. He is becoming a master of an effortless, creamy legato that's especially evident in the long floating lines of "Du bist die Ruh." The way Gerhaher's voice materializes out of nothing in "Im Abendrot" is magical, and the simplicity and directness of his singing is heartbreakingly poignant. He is at much at home in the more energetic and vociferous songs, such as "Bei dir allein," "Auf der Bruck," and "Der Musensohn," but it's in the more introspective pieces, where he can caress the words, that he is most unaffectedly moving. Gerold Huber provides supple and nuanced accompaniment, and the partnership of voice and piano is one of the album's greatest strengths. The sound is warm, present, and well balanced, with just enough resonance to maximize Gerhaher's ringing tone. © TiVo
CD$12.99

Classical - Released March 7, 2008 | RCA Red Seal

HI-RES$17.49
CD$12.99

Classical - Released September 11, 2015 | Sony Classical

Hi-Res
CD$11.49

Classical - Released September 25, 2009 | ECM New Series

Swiss composer Othmar Schoeck has received a bad and undeserved reputation on many fronts he didn't deserve. As his output is heavily invested in ambitious German-language song settings and cycles of various kinds -- what Dr. Seuss may have had in mind when he poked fun at a "long, long song" in his book Hop on Pop -- a great deal of it doesn't travel well. Conventional wisdom also dictated that Schoeck was a conservative post-romantic composer whose language never entered the modern era even though he lived until 1957. Once faced with Schoeck's actual music, though, you realize this depends on what you think is "modern," and to that end musicians have come a long way since the days of the 1970s when adherence to the ideals of the Second Vienna School was considered a requirement. A lot of what we love best about their music is what is found in the profound seriousness and mystery of Arnold Schoenberg's Second String Quartet, Alban Berg's Wozzeck and Lyric Suite, and Webern's early songs and his Five Movements for String Quartet, Op. 5. Although he does not employ structural systems that are least discernable and stylistically and Schoeck is clearly a different voice from the foregoing, his Notturno (1933) belongs to that world. It is highly chromatic, intense, and charged with the same expressionist idiom and sense of the enigmatic that we know from the Schoenberg school. It has been only recorded twice before, and arguably never better than on this ECM New Series disc featuring baritone Christian Gerhaher and the Rosamunde Quartett. Christian Gerhaher sings this long and difficult work exactly the way it should go; he never barks it out or makes recourse to the heavy vibrato germane to Wagnerian opera, but makes sparing use of vibrato to bring out the best mood of the text. The quartet, too, handles the slippery and complex chromatics of Schoeck's music with authority and tenderness; it has clearly studied every twist and turn in this score and seamlessly negotiates it all. This particular project is a labor of love of Heinz Holliger, who admits in his brief booklet note that at one time he, too, felt that Schoeck was a relic of the past. Nothing replaces the act of discovery, and Schoeck is a major one; if you love the expressionist sound of the early twentieth century, then you won't want to miss this. As Holliger stated, "May this be the moment of Schoeck's rediscovery"; indeed, this disc makes it seem like it's his turn and a lot worse could happen to music than for Schoeck to finally step out of the shadows. It's a little short at 48 minutes, but the Notturno is such a complete musical experience in itself that you won't go away feeling like you need more. © TiVo
CD$12.99

Classical - Released April 30, 1999 | ARTE NOVA Classics

HI-RES$17.49
CD$12.99

Classical - Released October 6, 2017 | Sony Classical

Hi-Res
German baritone Christian Gerhaher and his accompanist/partner-in-creativity Gerold Huber have risen to the top of the heap in primary lied repertory, and it is easy to see why. In their second turn through Schubert's Die schöne Müllerin, Gerhaher could simply have applied his golden baritone, and everybody would have been happy. Instead, he steps into character and conveys the unsettled psyche of the cycle's frustrated protagonist. He may gain strength at times, whereupon the famed Gerhaher sound comes through, but the cycle has a convincing dramatic arc that ends in unhappiness and weakness. Sample Trockne Blumen toward the end for the full range. Another Gerhaher innovation here is the inclusion of unset poems, recited by Gerhaher at the beginning, at the end, and along the way. This both breaks the tension and provides a more complex context to the whole sequence, and it's certainly something that one can imagine Schubert and his friends doing in their chambers. The booklet of the CD version has more on Schubert, Müller, and their orbit. A masterful, extremely satisfying remaking of some famous songs, and a Die schöne Müllerin that elevates the cycle to the level of Die Winterreise, D. 911. © TiVo