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See Terms & Conditions for p&p rates. | |  | Schumann - Dichterliebe & other Heine settings
Schumann: | Tragödie Op. 64 No. 3 Die beiden Grenadiere, Op. 49 No. 1 Abends am Strand, Op. 45 No. 3 Die feindlichen Brüder, Op. 49 No. 2 Der arme Peter, Op. 53 No. 3 Belsazar, Op. 57 Die Lotosblume, Op. 25 No. 7 Was will die einsame Träne, Op. 25 No. 21 Du bist wie eine Blume, Op. 25 No. 24 Lehn deine Wang' Op. 142 No. 2 song originally conceived for Dichterliebe Es leuchtet meine Liebe, Op. 127 No. 3 song originally conceived for Dichterliebe Dein Angesicht, Op. 127 No. 2 song originally conceived for Dichterliebe Mein Wagen rollet langsam, Op. 142 No. 4 song originally conceived for Dichterliebe Dichterliebe, Op. 48 |
Gerald Finley (baritone) & Julius Drake (piano) Why another Dichterliebe recording? Because Gerald Finley has simply one of the greatest voices of his generation, and is an artist at the peak of his powers. He brings to this noble song cycle the supreme technical ability and penetrating musical understanding that characterize all his performances, whether on the concert platform, in the recording studio or on the great opera stages of the world. This is his fourth disc with collaborator Julius Drake, and the partnership has proved to be a uniquely rewarding one. This fine recital also includes many of Schumann’s other Heine settings. The extremes of elation and despair in Heine’s poetry stimulated Schumann to write some of his most poignant and unforgettable songs. This is truly a disc to treasure. “[Finley] brings eloquence to the text and maturity to his interpretations, but with a still youthful-sounding voice. Darker and more “bassy” of tone than Dieskau, he is especially impressive in the sardonic and bitter songs...Finley is a gripping narrator, too, in the tale of Belshazzar’s feast, and can refine his voice to the most arresting of internalised confidences in the love songs to Clare Wieck.” Sunday Times, 14th September 2008 **** “Finley is a much less knowing, more direct performer than Fischer-Dieskau, concentrating less on precise verbal nuance (though his German diction is wonderfully clear) than on more generalised expressive contours, but the effect is still overwhelmingly powerful.” Andrew Clements, The Guardian, 5th September 2008 ***** “Doubts as to whether the world needs yet another Dichterliebe are allayed by a performance that probes the extremes of Schumann's evocation of remembered, blighted love. Gerald Finley's burnished baritone is one of the most beautiful voices to have recorded the cycle.” The Telegraph, 6th September 2008 “Finley's performance gives huge pleasure and insight…” BBC Music Magazine, September 2008 **** | 
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Dietrich Fischer-Dieskau (baritone), Hartmut Höll (piano) | | | In stock - usually despatched within 1 working day. |
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| |  | Knut Skram - Concert Recordings
Knut Skram (baritone), Inga Nielsen (soprano) & Robert Levin (piano) Oslo Philharmonic, Royal Philharmonic Orchestra & Finnish Radio Orchestra, Antonio Pappano, Simone Young & Okko Kamu Knut Skram is Norway’s foremost baritone. During a distinguished career since his breakthrough at Glyndebourne in 1969 as Guglielmo in Così, he has performed all the major baritone roles, including Germont in “La Traviata”, Ford in “Falstaff”, the title role in “Macbeth”, and Don Carlos in “La forza del destino”. He has appeared at major opera houses throughout the world, alongside the greatest artists of the day. |
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| |  | Great Singers - Lotte LehmannLieder Recordings Volume 3 (1941)
Schubert: | Winterreise D911 (excerpts) Gute Nacht (No. 1); Gefrorne Tränen (No. 3); Erstarrung (No. 4); Wasserflut (No. 6); Rast (No. 10); Frühlingstraum (No. 11); Einsamkeit (No. 12); Letzte Hoffnung (No. 16); Der Leiermann (No. 24) Paul Ulanowsky (piano) | Schumann: | Frauenliebe und Leben, Op. 42 Recorded 24th June, 1941 in Los Angeles Bruno Walter (piano) Dichterliebe, Op. 48 Recorded 13th August, 1941 in Los Angeles Bruno Walter (piano) |
Recorded 14th and 19th March, 1941 in Los Angeles "My admiration for Lotte Lehmann as a Lieder singer is not only undiminished – it has grown further. The close recording of the voice leaves almost no barrier between the singer and the listener but in this case lends the songs a rare intimacy." Musicweb International | | | Usually despatched in 2 - 3 working days. |
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| |  | The 1956 Salzburg Recital
Cesare Siepi & Leo Taubmann (piano) recorded live in Salzburg, 1956 | | | Usually despatched in 3 - 4 working days. |
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Roman Trekel (baritone) & Oliver Pohl (piano) | | | Usually despatched in 3 - 4 working days. |
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| |  | Schumann & Pfitzner - Lieder
Andreas Post (tenor) & Tatjana Dravenau (piano) | | | Usually despatched in 3 - 4 working days. |
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| |  | Schumann - Lieder Edition Volume 1
Thomas Bauer (baritone) & Uta Hielscher (piano) “In these songs and the others on this CD, the couple demonstrates a masterful approach to Schumann’s Lieder, and they should offer some excellent interpretations in the remainder of his repertoire in subsequent volumes of the series.” MusicWeb | | | Usually despatched in 2 - 3 working days. |
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Ian Partridge (tenor) & Jennifer Partridge (piano) | | | Usually despatched in 3 - 4 working days. |
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| |  | Robert Schumann - Dichterliebe
Christian Gerhaher & Gerold Huber "Gerhaher's Dichterliebe sets a new standard for intelligent leider singing. Like Olaf Bar, Gerhaher has an impeccable touch with consonants; singing through them and connecting and shaping the subsequent vowels eloquently. His musicality is evident, but the text is pre-eminent. Gerold Huber's accompaniment is equally rewarding; beautifully pitched, fluid playing. An excellent recital." Independent on Sunday | | | Usually despatched in 4 - 5 working days. |
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Gramophone Magazine