Musik / solosang

Schwanengesang


Anmeldelser (51)


The guardian

d. 12. maj 2016

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Erica Jeal

d. 12. maj 2016

"His baritone has almost everything for the Schubert selection on this disc: lightness at the top, warmth in the middle, velvety low notes, and an edge that ensures the words cut through ... An die Musik, sung and played with great intensity of feeling, closes a rewarding disc".


MusicWeb international

2021 October

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Göran Forsling (f. 1942)

2021 October

"Julian Prégardien follows very much in his father's footsteps. He is careful over nuances, and he radiates warmth. His singing is also natural, without exaggerated histrionics. His tone is youthful and light, but he can also generate deep intensity ... It may be unfair to single out certain songs as extra good, but for those who like to sample before listening through the whole cycle, the heartrending In der Ferne (tr. 2), where he adopts a plaintive tone in the last stanza, is a good place to start, and Aufenthalt (tr. 7) is also a high spot. Don't miss, by the way, Martin Helmchen's sensitive playing in Mendelssohn's beautiful Lied ohne Worte ... The coupling of Schubert's D 956 and D 957 is certainly fitting, and anyone who wants these two works together can safely invest in this twofer".


Presto classical

d. 30. nov. 2022

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Katherine Cooper

d. 30. nov. 2022

"Editor's choice - November 2022: The second of two superb interpretations of Schwanengesang to come my way in as many months, this could scarcely be more different from Ian Bostridge's aching, careworn account of the work with the late Lars Vogt, but I can see myself returning to it just as often: firm and even throughout the range, Schuen's virile, oaky baritone is a pleasure in itself, and his broader-brush approach to the text is no less vivid than Bostridge's more pointillistic interpretation".


Politiken

d. 10. mar. 2009

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Henrik Friis (f. 1978)

d. 10. mar. 2009

"Henschel synger enkelt og råt i et stort rum. Han lader stemmen vibrere bredt og angriber sangene direkte ... Men Henschel undgår ikke at virke presset på de høje steder".


Politiken

d. 20. jan. 2009

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Henrik Friis (f. 1978)

d. 20. jan. 2009


Berlingske tidende

d. 11. dec. 2009

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Søren Schauser

d. 11. dec. 2009

"Samlingen klinger fuldstændig overbevisende fra første øjeblik. Den britiske tenor kan virkelig noget helt enestående. Alle ord virker som støbt til alle toner. Næsten som om han finder på begge dele lige nu og hér".


Politiken

d. 10. mar. 2009

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Henrik Friis (f. 1978)

d. 10. mar. 2009

"Bostridge lægger sig spinkelt helt tæt på klaveret - forsigtigt og tilbageholdt - undertiden næsten som en slags hybrid mellem en mande-og en kvindestemme. Det er fascinerende, men også meget kunstfærdigt ... Bostridges trang til at pensle detaljer ud i overgjort tysk udtale irriterer i længden".


Jyllands-posten

d. 17. aug. 2012

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Jens Povlsen

d. 17. aug. 2012

"På sit sjette Schubert-udspil for det franske plademærke er fornemmelsen for livets knirkende låger på plads hos Goerne ... Sin store stemme svøber Goerne i silke og lader fortvivlelsen få luft i Schuberts tredje og sidste liedcyklus. Goerne er mand for at gribe mismodet og holde det oppe, så Schubert ikke brager til jorden som en vingeskudt melankoliker".


Politiken

d. 16. juni 2016

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Thomas Michelsen

d. 16. juni 2016

"Britiske James Rutherford ... har lært alt om tydeligt nuanceret tekst. Og som oven i købet kan levere den nærmest uden britisk accent, hvilket ellers ikke er let. Hans klang er fokuseret, ja, nærmest krammet sammen, og her er både angst hos krigeren natten inden slaget, og alt, hvad der ellers hører til i Schwanengesang ... Godt med Rutherford og hans akkompagnatør at vende hjem til den klassiske Schubert-kombination: stemme og klaver".


Politiken

d. 10. juni 2008

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Ursula Andkjær Olsen

d. 10. juni 2008


Jyllands-posten

d. 3. mar. 2009

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John Christiansen

d. 3. mar. 2009

"Solisten er tenoren Ian Bostridge, som jeg vil være forsigtig med at udtale mig kontant om. Han har en speciel stemme, lidt tynd og endda lidt spids i klangen, men han styrer den formidabelt. Med andre ord er det forståeligt, at nogle ikke bryder sig om hans tenor, men det er endnu mere forståeligt, at andre begejstres over hans forfinede sangkunst ... Antonio Pappano er ikke blot operachef og en strålende dirigent, men også en følsom klaverakkompagnatør".


Kristeligt dagblad

d. 18. mar. 2009

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Jakob Holm

d. 18. mar. 2009

"Schwanengesang ... synges på en ny cd med gribende indlevelse af den engelske tenor Ian Bostridge ... Bostridge foredrager med en ren, nærmest ukropslig stemme - den rene følelse er i centrum her, ikke drift og begær. Han synger krystalklart legato og med en særdeles tydelig tekstudtale ... og hans stemme er i det hele taget egal og luksuriøs, fuld af både kraft og ømhed, og han formår at farve teksternes dramaer, så deres følelsesmæssige alsidighed bliver tydelig".


Fono Forum

2021 Dezember

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Marcus Stäbler

2021 Dezember

"Das Album stellt unser Bild des 'Schwanengesang' in Frage ... Julian Prégardien und Martin Helmchen beginnen ihre Version des Schwanengesangs mit dem Lied 'Abschied', in dem das auffallend präsente Klavier und der Tenor einen drängenden Ton des Aufbruchs anschlagen. Als Auftakt einer Lesart, die die emotionalen Kontraste der Lieder mit einem breiten Spektrum an Nuancen durchlebt ... Der sprechende Ansatz von Prégardien und Helmchen tilgt viele Spuren von Schubert vermeintlicher Lebensmüdigkeit und findet seine Entsprechung in einer unsentimentalen, mitunter erstaunlich rauen Interpretation von Schuberts Streichquintett auf der zweiten CD".


BBC music magazine

2021 December

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Jessica Duchen

2021 December

"There is much to enjoy in this highly perfumed Schubert disc ... Prégardien's relatively light tenor makes the most of the intimacy to which these brief masterpieces are well suited ... At the piano, Helmchen's readings are full of character, with well-marked inner voicing ... The Teztlaff siblings and friends in the ever-magical String Quintet are a close-knit ensemble, performing as if with one soul".


Fono Forum

2018 Februar

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Johannes Schmitz

2018 Februar

"Skovhus singt in wunderbar samtigem Legato und in einem niedergedrückten Duktus und überlässt die Exaltion etwa in der "Erstarrung" fast völlig Stefan Vladar".


BBC music magazine

2012 March

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Michael Tanner (musikanmelder)

2012 March

"A fine recital, but not as memorable as some others".


BBC music magazine

2011 November

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Michael Tanner (musikanmelder)

2011 November

"This is a wonderful recording, two supreme Schubertians working in perfect harmony. Odd as it might sound, I think that this disc is valuable above all for Paul Lewis's stupendous piano playing ... He has clearly immersed himself in these songs to an impressive degree. The mood is set instantlly, but never obtruisively ... Padmore has a light voice, most suitable for the fanciful or the plangent".


Fono Forum

2011 Dezember

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Christoph Zimmermann

2011 Dezember

"Mark Padmore verfügt über einen sehr hellen Tenor, bei dem man düster dräuende Texte nicht unbedingt ideal aufgehoben vermutet ... Der Sänger entwickelt hier individuelle Schmerzfarben und eine ungeheure Intensität".


Klassisk

2006, nr. 1

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Steen Chr. Steensen

2006, nr. 1


Fono Forum

2007 April

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Christoph Vratz

2007 April

"Dass Güra über eine ausgesprochen lyrische, wenn auch nicht besonders voluminöse Stimme verfügt, hat er bereits ... bewiesen ... Insgesamt garantiert natürlicher Fluss und behutsame Akzentuierung, feine Dynamisierungen und eine klare Diktion ein erfreuliches Gesamterlebnis".


Diapason

2023 février

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Jean-Philippe Grosperrin

2023 février


BBC music magazine

2023 January

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Christopher Cook (musikanmelder)

2023 January

"The Italian baritone André Schuen and his pianist Daniel Heide suggest that there are hints of a through-written theme in Schubert's posthumously published swan song ... Not that Schuen and Heide fail to rise to the emotional challenge of both the Heine and Rellstab settings ... What empathy this is from these two young artists!".


Klassisk

2023, nr. 68

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Henrik Engelbrecht

2023, nr. 68

"André Schuen er en fuldskala Mozart-baryton ... med en varm, kraftfuld stemme, som han teknisk set behersker til mindste detalje. Læg dertil en grundmusikalsk frasering, klokkeren intonation og stor dynamik fra det sarteste pianissimo i en sang som 'Ihr Bild' til den kraftfulde kulmination i 'Der Atlas'. Hos Schue og hans faste pianist Daniel Heide går det hele måske blot en smule for adstadigt i sidste ende".


BBC music magazine

2012 July

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Hilary Finch

2012 July

"Vurdering: BBC music choral song choice" - "Matthias Goerne is showing an increasing tendency to capitalise on what he does best, exploiting his superb breath control in singing of hushed and seamless legato ... Both he and his accompanist Christoph Eschenbach are an top form in what is an outstanding contribution to the Schwanengesang catalogue".


Diapason

2016 octobre

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Hélène Cao

2016 octobre


BBC music magazine

2016 October

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Rebecca Franks

2016 October

"A well-rounded account of Schubert's Schwanengesang, Rutherford particularly relishing the darker colours of Kriegers Ahnung and Der Atlas. Eugene Asti is the excellent accompanist".


The gramophone

2021 December

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Richard Wigmore

2021 December

"While the concept is not quite convincing, the performances certainly are ... Julian Prégardien, his tone lighter and brighter than that of his father Christoph, is a sentient, involving interpreter who always compels you to listen. His diction, like his father's, is invariably clear and expressive".


International record review

2012 February

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Lucy Beckett

2012 February

"Christopher Maltman has a very beautiful light baritone voice and sings Schubert with undemonstrative perceptiveness and much musical intelligence ... This is a fine recording of Schwanengesang, the accompaniment occasionally somewhat intensive but Maltman's singing hard to fault".


The gramophone

2012 March

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Richard Lawrence

2012 March

"With this disc, Christopher Maltman and Graham Johnson complete their trio of Schubert song-cycles from the Wigmore Hall ... Maltman brings a light touch to Liebesbotschaft, beautifully complemented by the filigree of Johnson's accompaniment ... The second encore, Der Winterabend, culminates in Johnson's right hand doubling and counterpointing the vocal line - magical".


Berlingske tidende

d. 2. maj 2001

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d. 2. maj 2001


Kristeligt dagblad

d. 7. maj 2001

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d. 7. maj 2001


The gramophone

2011 Awards

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Richard Wigmore

2011 Awards

"Vurdering: Editor's choice" - "The close creative partnership between Mark Padmore and Paul Lewis is immediately heard in the opening ... Padmore's silvery, keen-edged tenor, grace of phrase and sensitivity to mood and verbal nuance are ideal here; and how affectionately Lewis's left hand sings in gentle colloquy with the voice ... This is certainly a Schwanengesang in the Schreier-Schiff class".


High fidelity (Kbh.)

Årg. 38, nr. 6 (2005)

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Årg. 38, nr. 6 (2005)


Weekendavisen

d. 8. juni 2001

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d. 8. juni 2001


International record review

2007 March

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Lucy Beckett

2007 March

"Werner Güra is a very fine Schubert singer of a particular kind: his performance of these songs are fresh, natural, unforced and intimate ... Christoph Berner, is a little heavy-handed and too free with the loud pedal in a few of these songs ... This is an engaging disc, with a useful booklet note".


Jyllands-posten

d. 29. feb. 2000

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d. 29. feb. 2000


The gramophone

2017 Awards

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Hugo Shirley

2017 Awards

"These late songs ... are arguably a better fit for his once-handsome baritone as it now is ... But the desicated sound of Skovhus's baritone constantly gets in the way of enjoyment - he can occasionally put some flesh on the bones in the middle of the register, but it peters out at the bottom of the range and thins at the top ... Vladar's playing is perfectly decent - and one would not expect nothing less - but lacks immediacy in a recorded balance that tries to offer his colleagues a helping hand. Another disappointment, I'm afraid".


The gramophone

2023 February

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David Patrick Stearns

2023 February

"One enjoys Schuen's fresh, beautifully contoured baritone, deployed with breath control that allows him to sail into long vocal lines with an illuminating sense of long-term musical direction, plus telling articulation of text ... These are young interpretations, not replacing the great Schubert barytones (Dietrich Fischer-Dieskau or Matthias Goerne) but definitely warranting a place alongside them".


The gramophone

2009 June

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John Steane

2009 June

"Pappano plays with imagination as verbally attuned as Bostridge's. The rightness of touch is evident in the first additional song "Geheimnis", and in the last, the very simple and aptly chosen "Abschied"".


International record review

2009 April

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Roger Pines

2009 April

"I take nothing away from Bostridge's acute intelligence, his vitality and commitment, his complete grasp of the song's poetic import, or the sheer thoroughness of his exuberation. Still, for the life of me, I find myself unable to enjoy the singing".


The gramophone

2012 July

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Richard Wigmore

2012 July

"Burdened inwardness has long been Matthias Goerne's hallmark. Here, even more ... he seems to view even the tremulously hopeful songs of Schwanengesang through a gauze of nostalgia and regret ... The distinctive mellow roundness of Goerne's timbre, at once deep and soft-grained, and his care for a true, 'bound' legato are pleasures in themselves".


International record review

2012 July/August

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Hugh Canning

2012 July/August

"Like his mentor Fischer-Dieskau, Goerne brings a variety of "faces" to his interpretations of these great songs ... If his timbre is never quite as distinctive as his late teacher's, and his diction less fanatically incisive ... his interpretations sound less mannered and more "modern" than those of his celebrated predecessor. I can't, however, write that I inevitably prefer them".


The gramophone

2016 June

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Hugo Shirley

2016 June

"A very fine singer on fine form, then, an honest, beautiful crafted interpretation, and a Schwanengesang that's well worth seeking out, especially for those seeking an alternative to Florian Boesch's rather more interventionist recent account".



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