Musik / solosang

Lieder on record & legendary Lied cycle recordings : Lieder in historischen Aufnahmen 1901-1951


Anmeldelser (62)


Kulturradio RBB

d. 14. nov. 2018

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Kai Luehrs-Kaiser

d. 14. nov. 2018

"Wenn Christian Gerhaher, der gewiss beste Liedersänger der Gegenwart, zu einem integralen Schumann-Liederzyklus ansetzt, darf man schon mal ins Horn stossen. Er tut es selber auch, denn so unmittelbar, sogar schmetterfreudig wie in den Kerner-Liedern oder den Vier Gesängen op. 142 hörte man den Sänger selten ... Auch darin entdeckt Gerhaher Seiten, die neu erscheinen. Man wird feierlich, wenn man diese CD hört. Was soll man sagen: Da kommt keiner ran".


The guardian

d. 29. nov. 2018

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Andrew Clements (musikanmelder)

d. 29. nov. 2018

"Over the next two years, the baritone Christian Gerhaher and his regular pianist, Gerold Huber, plan to record all of Schumann's songs. Rather than launch the project with the celebrated cycles ... they begin with a selection of lesser-known groups ... There is no doubt that Schumann brings the very best out of him ... There is no sense of any kind of routine on this album. Such freshness is as obvious in his performance of some of the slighter numbers as it is in the authentically great songs of the Kerner set, the best of them as fine as anything in Dichterliebe".


The guardian

d. 20. apr. 2017

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Andrew Clements (musikanmelder)

d. 20. apr. 2017

"The combination of Goerne's distinctively veiled tone and care over every word and nuance with Markus Hinterhäuser's equally punctilious accompaniments, turns them into a compelling sequence. Even ardent Schumann devotees should find something new here".


Kulturradio RBB

d. 11. apr. 2017

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Kai Luehrs-Kaiser

d. 11. apr. 2017

"Echte Hits sind nicht mit drauf. Wofür man angesichts eines kleiner werdenden Lied-Repertoires in der Gegenwart dankbar sein darf. Die CD gehört, soweit ich es überblicken kann, zu den fünf bis sechs Besten Goernes".


The guardian

d. 17. sep. 2020

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Andrew Clements (musikanmelder)

d. 17. sep. 2020

"Hasselhorn's rich, dark baritone captures Schumann's extraordinary extremes of light and darkness and Middleton is a discerning accompanist ... [The Kerner-Lieder] suit Hasselhorn's rich, dark sound very well and highlight his ability to evoke emotional extremes, without ever losing his poise or sense of style".


Presto classical

2021

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2021

"The first three CDs contain 'Lieder in historic recordings'. A fourth CD compIetes the set with three song cycles by Schumann in legendary interpretations. The Lied or art song ... really was a largely German phenomenon ... Soon after the arrival of phonographic recording at the end of the 19th century, they began to sing into the record companies' recording horns - so that the earliest sound recordings of this Edition date back as far as the year 1901. The duty of the Lied composer, declared the arch-Romantic Schumann, is 'to embroider the poem with its more delicate features in a finer musical fabric'. Altogether, Schumann wrote more than 260 Lieder for a single voice".


Presto classical

d. 30. nov. 2018

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Katherine Cooper

d. 30. nov. 2018

"Editors choices - November 2018: This first instalment of Gerhaher and Huber's complete Schumann series is hands-down one of my personal favourites of the year - the quiet heartbreak of the lovelorn window-cleaner and gardener in the Op. 107 songs brought tears to my eyes, whilst the new muscularity which made Gerhaher such a compelling Amfortas earlier this year pays dividends in the sharply-etched drama of Die Beiden Grenadiere".


MusicWeb international

2017 May

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Simon Thompson (musikanmelder)

2017 May

"The predominant atmosphere of the disc is not ... melancholy or sadness: it is inwardness, intimacy and insight ... Goerne has, doubtless, curated this recital precisely so that it could show that side of his voice, and the closeness of his cooperation with Hinterhäuser makes it, for me, a remarkably successful and, yes, intimate experience".


MusicWeb international

2008 June

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Jens F. Laurson

2008 June

"As on his previous CDs and in recital, Gerhaher forms one logical and expressive unit with Gerold Huber whom Gerhaher accompanies. He "disappears" in the music - not because he is timid but because he inseparably a part of it, a Lieder-pianist: decidedly not a mere accompanist and neither intruding on the songs with self-conscious flashes of virtuosity".


Presto classical

d. 30. sep. 2020

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Katherine Cooper

d. 30. sep. 2020

"Editor's choices - September 2020: The voice is beautifully secure and even throughout its wide range, and the top in particular is rock-solid and incisive without any hint of harshness. Highlights include a pacey but bluster-free Die beiden Grenadiere, and superbly involving accounts of Die Löwenbraut and Belsatzar - he and Middleton certainly know how to tell a good story together".


Politiken

d. 30. juni 2017

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Thomas Michelsen

d. 30. juni 2017

"Goerne [tager] på sit nye album skridtet hen til højromantikeren Robert Schumann. Resultatet er ren lækkerlytning. Ikke kun fordi Matthias Goerne har valgt langsomme, sarte og inderlige lieder til Einsamkeit. Men også fordi han kan lette på sin meget store stemme og samtidig holde fast i kerneklangen ... Hos Goerne møder man en mørkere, blødere, anelsesfuld klang ... Markus Hinterhäuser ved Steinway-flyglet hjælper med en fin dynamisk balance ... En rejse ind i det bløde mørke, hvor ensomhed er noget, man kan svælge i og nyde".


Berlingske tidende

d. 29. okt. 2008

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Søren Schauser

d. 29. okt. 2008


Jyllands-posten

d. 11. aug. 2008

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John Christiansen

d. 11. aug. 2008


Jyllands-posten

d. 29. apr. 2009

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John Christiansen

d. 29. apr. 2009


BBC music magazine

2019 March

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Paul Riley (musikanmelder)

2019 March

"Recording of the month: Both in his musical and literary responses, Christian Gerhaher leaves nothing unquestioned. Each word is weighed. Each note calibrated. Yet for all that, seemingly spontaneous and instinctive, the result is neither overegged nor loses sight of the overarching impulse. When it comes to line and shading, resolute truthfulness is all".


Klassisk

2019, nr. 54

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Esben Tange (f. 1961)

2019, nr. 54

"Den tyske baryton Christian Gerhaher er en drøm af en lied-sanger. Med en nuanceret stemme, der mestrer alt fra det hviskende til det voldsomt ekspressive, har han hele den vokale palet til sin rådighed. Og så kan han fortælle historier, så man bliver rørt ... Karakteriseringen er afgørende, når det som her drejer sig om i alt 29 sange af Schumann ... Christian Gerhaher er sammen med sin faste pianist Gerold Huber mand for at få poesien til at leve i romantiske tyske digte af blandt andre Justinus Kerner og Heinrich Heine".


Fono Forum

2019 Februar

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Johannes Schmitz

2019 Februar

"Gerold Huber ist der gewohnt hypersensible Ausdeuter des Klaviersatzes, immer im Dienst der fliessenden Gestaltung, nie überbetonend, manchmal zu dezent - auch von der Abmischung her. Er legt den Boden für das seeliche Auf und Ab ... in die sich Christian Gerhaher emotional höchst durchlässig begibt, kernig, deklamatorisch, sanft und weich, verschattet oder grell - was aus dem Innern gerade herausdrängt. Mit dann zehn CDs soll die Gesamtausgabe der Schumann-Lieder im Jahr 2020 abgeschlossen sein".


Diapason

2019 février

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Hélène Cao

2019 février


Klassisk

2017, nr. 46

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Henrik Engelbrecht

2017, nr. 46

"Heldigvis holder den tyske baryton Matthias Goerne liedfanen højt ... Hans enorme intellektuelle indlevelsesoverskud, hans eminente stemmekontrol og den mørke, bløde og egale stemme med et vokaldramatisk omfang fra de dybeste sorte afgrunde til de letteste lyse nuancer ... Imponerende ... Her synger han 19 sange af Schumann ... Den helt rigtige cd, hvis maner lidt ensom en trist efterårsdag. Man føler sig i hvert fald i fremragende selskab".


BBC music magazine

2017 July

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Natasha Loges

2017 July

"Goerne is a virtuoso of the recording studio. He mostly keeps to a subdued, intimate murmur, and his molten legato is barely touched by consonants ... Hinterhäuser's flexible, tender accompaniment evokes the private interiors in which these songs were sung. Both artists consciously understate and underplay, reminding us that true aloneness looks inward. If you buy just one song recording this month, this should be it".


Diapason

2017 mai

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Hélène Cao

2017 mai


Fono Forum

2017 Juni

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Johannes Schmitz

2017 Juni

"CD's des Monats: Goernes Programm wirkt insgesamt trauerverschattet. Die dunkle, vollmundige Baritonstimme des Sängers transportiert Gefühle von Melancholie in idealer Weise".


BBC music magazine

2021 July

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Paul Riley (musikanmelder)

2021 July

"On repeated listening, any initial feelings of 'sacrilege' increasingly yield to admiration for the compelling empathy that underpins this whole re-imagining. Often glorious, the singing isn't consistently persuasive ... Middleton is a magician of moods, his wonderfully enriching rubato the lynchpin of a disc that, ultimately, posts a balanceredressing love letter to Robert and Clara".


Fono Forum

2021 Oktober

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Dorothee Riemer

2021 Oktober

"Sampson und Middleton singen und spielen fantastisch: intensiv und trotz aller Gefühlsausbrüche zurückhaltend. Sie konzentrieren sich vor allem auf Innigkeit und Innerlichkeit. Lieder aus verschiedenen Sammlungen Robert Schumanns haben sie ausgewählt, sieben Lieder Clara Schumanns haben sie hineingewoben und stellen so eine leicht modernisierte Version von "Frauenliebe und -leben" vor".


BBC music magazine

2014 February

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Hilary Finch

2014 February

"Both Holzmair and Imogen Cooper are minutely sentinent to its progress, even if there are times when Holzmair has to rev up his baritone somewhat forcefully at the extremes of his register ... particularly erwarding recital".


BBC music magazine

2008 July

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Hilary Finch

2008 July

"Seldom has Schumann's Op. 39 Liederkreis found such a close soul mate, or more revelatory company ... But, for the time being, Gerhaher has carved out a new standard for our times".


Fono Forum

2010 April

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Bjørn Woll

2010 April

"Einziges Manko: Der Gesang wirks teilweise etwas zu beherrscht ... Helmut Deutsch ist ihr in allen Belangen ein ebenbürtiger Partner".


BBC music magazine

2008 November

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Hilary Finch

2008 November

"Connolly can be just a little studied at times, loosing the frisson of fear in "Waldesgespräch" and the rush of rapture at the end of "Schöne Fremde" ... Even so, the appearance of Connolly's recording is most welcome".


BBC music magazine

2010 January

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Hilary Finch

2010 January

"Bernarda Fink's light, fresh-voiced mezzo is ideally cast in Schumann's early, ardent Myrthen songs ... From its imaginative picture research to the perfectly balanced and engineered recording, this is a very special and clearly lovingly produced disc - one to cherish".


Diapason

2020 octobre

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Sylvain Fort

2020 octobre


Fono Forum

2021 April

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Johannes Schmitz

2021 April

"Samuel Hasselhorns Singen vereint Spektren, die es spannend machen, ihn zuzuhören. Dunkle, mitunter fast spröde Herbheit und intensive Linienführung verbinden sich bei dem 30-jährigen Bariton zu einem reifen Gesamteindruck. Er geht bei Schumanns Kerner-Zyklus mit vielen dynamischen Abstufungen sicher in alle emotionalen Untiefen. Es macht Freude, diese saftige, heldische Herangehensweise zu hören".


The gramophone

2019 February

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Hugo Shirley

2019 February

"Recording of the month - Editor's choice: The voice is still extraordinarily beautiful ... Huber's piano-playing, meanwhile, is a constant marvel of sensitivity and control. In every bar you can sense the closeness of the partnership ... Perhaps the greatest achievement, though, is that all this care and attention is worn so lightly: Gerhaher and Huber achieve an almost alchemistic feat in making so much artistry feel so natural ... This is an album to treasure and to savour - and to listen to again and again".


Berlingske tidende

d. 6. feb. 2002

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d. 6. feb. 2002


The gramophone

2017 June

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Hugo Shirley

2017 June

"Goerne's baritone now has some wear but it remains beautiful. There's an impressive control of line and a lovely veiled piano tone in the upper end of his range; the breaths, deep and long, seem to be drawn from a deep emotional well ... Hinterhäuser deserves a special mention, too. He coaxes a tone of supreme pearly beauty from his Steinway and matches Goerne note for note in terms of creating the disc's beguiling atmosphere ... Another deeply thoughtful and often moving recital".


The gramophone

2021 June

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David Patrick Stearns

2021 June

"Amid formidable recorded competition, Sampson is close to the top of the Frauenliebe pantheon ... Tempos are flexibly contoured to the words so sympathetically ... that vocal line and piano seem to be floating together ... Solo piano interludes are so imaginatively played that it's high time Joseph Middleton made an album of solo Schumann piano music".


The gramophone

2014 February

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Geoffrey Norris

2014 February

"Two perfectly performed Schumann encores cap a recital that brings together two artists who are in complete harmony with the repertoire and with one another".


Berlingske tidende

d. 30. aug. 2003

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d. 30. aug. 2003


Kristeligt dagblad

d. 27. maj 2002

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d. 27. maj 2002


High fidelity

2002 4

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2002 4


The gramophone

2008 July

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Richard Wigmore

2008 July

"Vurdering: Editor's choice" - "A superb baritone confirms his place as one of today's most probing singers".


Jyllands-posten

d. 3. dec. 1999

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d. 3. dec. 1999


Berlingske tidende

d. 15. sep. 1999

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d. 15. sep. 1999


Politiken

d. 21. nov. 1999

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d. 21. nov. 1999


The gramophone

2008 November

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Richard Wigmore

2008 November

"Connolly’s is a psychologically convincing reading, abetted by the fastidious, if sometimes slightly self-effacing, Eugene Asti ... Connolly also makes an eloquent case for some much-maligned late Schumann, singing the bleak, confessional Maria Stuart songs with the touching directness and intimacy of feeling that mark her whole recital".


International record review

2010 January

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Roger Pines

2010 January

"We owe considerable gratitude to Harmonia Mundi for having the good sense to record Bernarda Fink in a broad range of song repertoire ... All Lieder devotees should acquire this entrancing disc".


Berlingske tidende

d. 6. feb. 2002

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d. 6. feb. 2002


Opus

2021, nr. 102

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Carl-Henric Malmgren

2021, nr. 102

"Samuel Hasselhorns mörka baryton och Joseph Middletons inkännande pianospel lockar fram längtan som vilar som klangbotten i kompositionerna. Fram träder en fördjupad dimension som visar att det fortfarande finns outforskade nyanser i Robert Schumanns sånger".


The gramophone

2020 November

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Richard Wigmore

2020 November

"Samuel Hasselhorn's ductile baritone, with its dark middle register and free-ringing top, is a fine, wholesome instrument; and he uses it with imagination and an unexaggerated relish for the German language. From the ominous expectancy of Joseph Middleton's introduction, 'Belsatzar' maintaines tension right through to the hushed terror of the close - a terrific performance, this ... Hasselhorn is rewarding, too, in the set of Kerner Lieder ... This is a compelling debut recital from a young baritone who is clearly one of the most gifted and natural lieder singers of his generation".


High fidelity (Kbh.)

Årg. 38, nr. 2 (2005)

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Årg. 38, nr. 2 (2005)



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