Dietrich Fischer-Dieskau


Dietrich Fischer-Dieskau

Born in 1925, baritone Dietrich Fischer-Dieskau trained in his native Berlin until his studies were interrupted by conscription in the early 1940s, and was held in an American prisoner-of-war camp in Italy for two years where he continued to perform Schubert for his fellow inmates. Shortly after his release, he made his operatic debut as Posa in Berlin in 1948 and went on to become an imposing presence on major opera stages, winning particular acclaim as Mandryka, Kurwenal, Barak and Mozart's Count Almaviva but also encompassing heavyweights including Jokanaan, Wotan, Amfortas, Hans Sachs and The Dutchman. He has also championed new repertoire in the concert-hall and opera-house alike, having sung in the world premieres of many works including Britten's War Requiem, Henze's Elegie für junge Liebende and works by Rihm, Reimann and Matthus.

But he became best known as a master of German song: widely regarded as the finest lieder-singer of the last century, his recital repertoire numbers over 3000 songs by more than 100 composers (including all of the baritone songs of Schubert, Schumann and Wolf), and his interpretative originality, textual sensitivity and seemingly infinite palette of vocal colours arguably remain unequalled today. He did much to revive neglected works and the tradition of the song recital itself, and his masterful interpretations of lieder remain a benchmark for singers, pianists and audiences alike. Since his retirement in 1992, his incomparable influence in this realm continued through his recordings, writing and busy teaching schedule.

He passed away on 18th May 2012 just 10 days before his 87th birthday.

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Wagner: Der Ring des Nibelungen

Wagner: Der Ring des Nibelungen

Das Rheingold

Dietrich Fischer-Dieskau (Wotan), Zoltán Kelemen (Alberich), Josephine Veasey (Fricka), Gerhard Stolze (Loge), Erwin Wohlfahrt (Mime), Martti Talvela (Fasolt), Karl Ridderbusch (Fafner), Donald Grobe (Froh), Simone Mangelsdorff (Freia), Helen Donath (Woglinde), Edda Moser (Wellgunde), Anna Reynolds (Flosshilde)

Die Walküre

Régine Crespin (Brünnhilde), Thomas Stewart (Wotan), Gundula Janowitz (Sieglinde), Jon Vickers (Siegmund), Martti Talvela (Hunding), Josephine Veasey (Fricka), Danica Mastilovic (Helmwige), Carlotta Ordassy (Ortlinde), Liselotte Rebmann (Gerhilde), Ingrid Steger (Waltraute), Barbro Ericson (Siegrune), Helga Jenckel (Rossweisse), Cvetka Ahlin (Grimgerde), Lilo Brockhaus (Schwertleite)


Jess Thomas (Siegfried), Thomas Stewart (Der Wanderer), Gerhard Stolze (Mime), Helga Dernesch (Brünnhilde), Karl Ridderbusch (Fafner), Oralia Dominguez (Erda), Catherine Gayer (Waldvogel)


Helga Dernesch (Brünnhilde), Helge Brilioth (Siegfried), Karl Ridderbusch (Hagen), Zoltán Kelemen (Alberich), Thomas Stewart (Gunther), Gundula Janowitz (Gutrune), Christa Ludwig (Waltraute), Liselotte Rebmann (Woglinde), Edda Moser (Wellgunde), Anna Reynolds (Flosshilde), Lili Chookasian (First Norn), Christa Ludwig (Second Norn), Catarina Ligendza (Third Norn)

Berliner Philharmoniker, Herbert von Karajan

The entire Karajan Ring in lossless 24-bit / 96kHz HD Audio on one Blu-ray Audio disc. The new remastering was done by the Emil Berliner Studios in 2016.

Deluxe 400-page hardback book edition in a slipcase, with original cover art

Complete German libretti, full English translations + detailed repertoire notes from the original releases and notes on the recording sessions.

Rare artist photos from the recording sessions and from the rehearsals for the live Salzburg productions.

50 years since Karajan and the Berliner Philharmoniker stepped inside Jesus-Christus-Kirche in Berlin to record Wagner’s masterpiece, Deutsche Grammophon proudly presents the entire Ring on one single High Fidelity Pure Audio Blu-ray disc with an extensive hardback book containing the full libretti in original German with English translations.

According to Karajan’s own account, it was during the summer of 1965, while he was working on Boris Godunov, that he had a vision of the future: “I suddenly sensed a burning desire to stage and conduct Wagner in Salzburg.” His dream – very much in the spirit of Wagner himself: “My baton shall teach future ages which road they have to take.”

Karajan’s Wagner was concerned with beauty, lyricism and structure, and for his monumental Ring cycle he assembled a world-class cast of singers who possessed instrumental tone and were able to deliver a vivid and clear declamation of the text; and his Berliner Philharmoniker were more than capable of rising to the occasion.

Released or re-released in last 6 months

DG - 4797354

(Blu-ray Audio)


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Romantic Duets

Romantic Duets


Heimatgedenken, Op. 16 No. 1

Der beste Liebesbrief, Op. 6 No. 2

Der beste Liebesbrief, Op. 6 No. 2


Ich wollt' meine Lieb' ergösse sich, Op. 63. No. 1

Gruss, Op. 63 No. 3

Wozu der Vöglein Chore

Abendlied 'Wenn ich auf dem Lager' (Heine)

Wasserfahrt, WoO 11 No. 3

Abschiedslied der Zugvögel, Op. 63 No. 2

Wie kann ich froh und lustig sein? (Kaufmann)

Herbstlied 'Ach, wie so bald verhallet der Reigen', Op. 63 No. 4

Suleika und Hatem, Op. 8 No. 12


Four Duets Op. 34

Schön ist das Fest des Lenzes, Op. 37 No. 7

So wahr die Sonne scheinet, Op. 37, No. 12

In der Nacht, Op. 74 No. 4

Four Duets Op. 78

Ich bin dein Baum, Op. 101 No. 3

Die tausend Grüße, die wir dir senden, Op. 101 No. 7

Drei Duette Op. 43: No. 2 'Wenn ich ein Vöglein wär'

Mailied, Op. 79 No. 9

Julia Varady (soprano), Dietrich Fischer-Dieskau (baritone), Hartmut Holl (piano)

Is it too much to announce yet another CD world premiere for a singer with such a vast discography as Dietrich Fischer-Dieskau (1925-2012)? No, it truly is not. That is because the undoubtedly most important singer alongside Maria Callas and Enrico Caruso of the twentieth century (according to Die Welt newspaper) had originally forbidden a release of this live recording. The most likely reason is that this recording made on February 26, 1989 in the Deutsche Oper in Düsseldorf and featuring his fourth wife, soprano Julia Varady (born in 1941) included songs that the baritone, who was to retire from active performance in 1992, planned to record in the studio. There is therefore no artistic reason why this splendid Lieder matinée performance to mark the tenth anniversary of the Robert Schumann Society should remain unheard. These are Fischer-Dieskau/Varady gems which we can now enjoy, long after they were performed. Even when it comes to the repertoire there are works that have rarely been encountered: 'Romantic Duets' features an insightful and interesting selection of solo Lieder works by Romantic-era composers.

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Profil Medien - PH17028



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Schubert: Winterreise D911

Schubert: Winterreise D911

Live from the Siemensvilla, Berlin, 1979

Franz Schubert’s song cycle Winterreise was written late in his life. It is regarded both as a highlight of the genre and as the touchstone by which lieder singers are judged. To succeed in interpreting Winterreise is the artistic equivalent of a patent of nobility for a singer. The song cycle certainly became one of Dietrich Fischer-Dieskau’s calling cards and it is probably this work that made the baritone an international household name. Time and again his interpretation could be heard in the concert hall, at festivals, on the radio and on numerous records. In this recording made for the Sender Freies Berlin in January 1979, we see two of the leading musicians of their day in the prime of their lives and at the very peak of their art and experience appearing together in the service of Schubert’s Winterreise. Both the experienced Schubert lieder singer and the Austrian pianist – known throughout the world for his authoritative interpretations of Schubert’s piano music – had performed Winterreise together frequently between 1975 and 1989. In a way, Fischer-Dieskau’s approach to Schubert’s lieder has become the touchstone for today’s singers. This recording of rehearsal and concert offer a glance into the development of a masterly interpretation of a masterwork.

Special Feature: The Rehearsal

This 56-minute documentary offers fascinating insights into how

Dietrich Fischer-Dieskau and Alfred Brendel rehearsed prior to

their recording of Schubert’s “Winterreise”.

Sound Formats: PCM Stereo

Picture Format: 4:3

Subtitles: EN, DE, FR, ES, IT

Region Code: 0

Running Time: 73 mins + 56 mins Bonus


DVD Video

Region: 0

Format: NTSC

Arthaus Musik - 109317

(DVD Video)


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Strauss, R: Capriccio

Strauss, R: Capriccio

Elisabeth Schwarzkopf (Countess), Eberhard Wächter (Count), Dietrich Fischer-Dieskau (Olivier), Nicolai Gedda (Flamand), Hans Hotter (La Roche), Christa Ludwig (Clairon), Rudolf Christ (Taupe), Anna Moffo (Italian Soprano), Dermot Troy (Ein italienischer Tenor), Karl Schmitt-Walter (Haushofmeister)

Philharmonia Orchestra, Wolfgang Sawallisch

Few singers have fused words and music as eloquently as Elisabeth Schwarzkopf, and few sopranos have proved more radiant in Strauss. All this makes her the ideal protagonist in the composer’s final opera, his ingenious and engaging ‘conversation piece’ on artistic themes. Schwarzkopf is joined by a cast of superlative stature and style and by a conductor intimately identified with the works of Strauss, Wolfgang Sawallisch.

Warner Classics - The Opera Series - 2564648319

(CD - 2 discs)


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Schubert: Winterreise D911

Schubert: Winterreise D911

Mono · Recorded In 1955

Dietrich Fischer-Dieskau (baritone) & Gerald Moore (pianoforte)

"Music and poetry have a common domain, from which they draw inspiration and in which they operate: the landscape of the soul,” said Dietrich Fischer-Dieskau. He embarked on Schubert’s Winterreise many times in his career, but this recording, made in 1955 with pianist Gerald Moore, is as exceptional for the youthful beauty of his singing as for the insight and immediacy of his interpretation.

Warner Classics Original Jacket Reissues - 2564640089



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Wolf: Mörike Lieder (excerpts)

Wolf: Mörike Lieder (excerpts)

Wolf, H:

Der Genesene an die Hoffnung (No. 1 from Mörike-Lieder)

Jägerlied (No. 4 from Mörike-Lieder)

Begegnung (No. 8 from Mörike-Lieder)

Fussreise (No. 10 from Mörike-Lieder)

Verborgenheit (No. 12 from Mörike-Lieder)

Im Frühling (No. 13 from Mörike-Lieder)

Auf einer Wanderung (No. 15 from Mörike-Lieder)

In der Frühe (No. 24 from Mörike-Lieder)

Neue Liebe (No. 30 from Mörike-Lieder)

An die Geliebte (No. 32 from Mörike-Lieder)

Peregrina I (No. 33 from Mörike-Lieder)

Peregrina II (No. 34 from Mörike-Lieder)

Lebe wohl (No. 36 from Mörike-Lieder)

Der Jäger (No. 40 from Mörike-Lieder)

Der Feuerreiter (No. 44 from Mörike-Lieder)

Storchenbotschaft (No. 48 from Mörike-Lieder)

Bei einer Trauung (No. 51 from Mörike-Lieder)

Abschied (No. 53 from Mörike-Lieder)

This album contains 18 of the 53 Mörike Lieder by Hugo Wolf, performed by legendary artists Dietrich Fischer-Dieskau and Sviatoslav Richter.

The Gedichte von Eduard Mörike is one of the five major song cycles that brought great recognition to the nineteenth-century composer Hugo Wolf. The 18 songs included in this recording rank amongst the composer’s most outstanding works. Despite Wolf’s own regret of being recognised as a great lied composer, he developed the Lieder genre to its highest level.

The undeniable influence of Wagner and, to some extent the 'Second Viennese School', is self-evident in Wolf’s music. By pushing the boundaries of tonality and dramatic effect, Wolf was able to achieve an unprecedented level of tension in the Lieder genre.

The epic collaboration between Fischer-Dieskau and Richter began in 1965 at the Aldeburgh Festival. Their great mutual respect has been well documented. Nonetheless, during their collaboration Sviatoslav Richter and Dietrich Fischer- Dieskau only recorded works by three different composers: Schubert, Brahms and Wolf. It was about recording Wolf that Richter said: “On this occasion it seems as though we really entered into the spirit of these songs; we’d rehearsed sufficiently and felt not only confidence, but real friendship towards each other.”

According to Richter, their collaboration with Hugo Wolf’s Lieder was the most creative and satisfying. These legendary artists bring their uncompromising attention to detail and unity of vision to produce music-making of great power and beauty.

This re-release of the 1973 Deutsche Gramophone recording of the Mörike Lieder allows us to experience the work of these 20th century musical giants in an unprecedented way and to enjoy the Mörike Lieder like never before.

Super Audio CD


Hybrid Multi-channel

Pentatone - PTC5186219



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Strauss, R: Ariadne auf Naxos

Strauss, R: Ariadne auf Naxos

Hildegard Hillebrecht (Ariadne), Tatiana Troyanos (Komponist), Reri Grist (Zerbinetta), Jess Thomas (Bacchus), Dietrich Fischer-Dieskau (Musiklehrer), Barry McDaniel (Harlekin), Richard Kogel (Truffaldin), Friedrich Lenz (Brighella), John van Kesteren (Scaramuchio), Arleen Auger (Najade), Unni Rugtvedt (Dryade), Sigrid Schmidt (Echo), Franz Stoss (Haushofmeister), Herbert Lackner (Ein Lakai), Friedrich Lenz (Ein Offizier), Heinz Friedrich (Ein Perückenmacher), Gerhard Unger (Ein Tanzmeister)

Symphonieorchester des Bayerischen Rundfunks, Karl Böhm

On 11 June 1944 Karl Böhm conducted Ariadne auf Naxos at the Vienna State Opera. It was, in his own words, ‘despite the dark shadows cast by the war which was already long since lost, a feast for musical Vienna’. The occasion was the 80th birthday of Richard Strauss ­ which would have undoubtedly been celebrated throughout the whole world of music had it not fallen at that sombre time; a few months later the closing of all German and Austrian theatres was one of the many signs of the inexorable approach of destruction and defeat. For Strauss, however, the celebration performance in Vienna signified one of the triumphal high spots of a lifetime rich in successes and fame.

Böhm said of Ariadne that, together with Elektra, it had always been his favourite among Strauss’s stage works, and that with it he attained his first great public and critical success.

He recorded the work twice for Deutsche Grammophon – a ‘live’ recording in 1954, and this much rarer and much sought-after studio recording made in 1969 with a superb cast that included Hildegard Hillebrecht, Reri Grist, Jess Thomas, Tatiana Troyanos and Dietrich Fischer-Dieskau, which now receives its first international release on CD.

Collectors will be interested to learn that the set includes the notes that accompanied the original LP release, a synopsis and details of all the musicians who participated in the recording (including three members of the Koeckert Quartet).

“The DGG sound is as clear as crystal […] Hildegard Hillebrecht … pours forth powerful, heroic tone […] Jess Thomas is a robust Bacchus […] Reri Grist … is my ideal Zerbinetta, precise of rhythm and intonation, witty in phrasing and verbal inflexion, tough in attack yet delectably sensual in vocal quality, the whore of one’s dreams, sweet and permissive and utterly natural, never calculating” Gramophone Magazine, Hillebrecht

Australian Eloquence - ELQ4821653

(CD - 2 discs)


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Wagner: Der Ring des Nibelungen

Wagner: Der Ring des Nibelungen

Das Rheingold

George London (Wotan), Kirsten Flagstad (Fricka), Claire Watson (Freia), Set Svanholm (Loge), Waldemar Kmentt (Froh), Eberhard Wächter (Donner), Paul Kuen (Mime), Jean Madeira (Erda), Gustav Neidlinger (Alberich), Walter Kreppel (Fasolt), Kurt Böhme (Fafner), Oda Balsborg (Woglinde), Hetty Plümacher (Wellgunde), Ira Malaniuk (Flosshilde)

Die Walküre

James King (Siegmund), Régine Crespin (Sieglinde), Gottlob Frick (Hunding), Hans Hotter (Wotan), Birgit Nilsson (Brünnhilde), Christa Ludwig (Fricka), Brigitte Fassbaender (Waltraute), Berit Lindholm (Helmwige), Helga Dernesch (Ortlinde), Vera Schlosser (Gerhilde), Helen Watts (Schwertleite), Vera Little (Siegrune), Claudia Hellmann (Rossweise), Marilyn Tyler (Grimgerde)


Wolfgang Windgassen (Siegfried), Birgit Nilsson (Brünnhilde), Hans Hotter (Wanderer), Gerhard Stolze (Mime), Gustav Neidlinger (Alberich), Kurt Böhme (Fafner), Marga Höffgen (Erda), Joan Sutherland (Waldvogel)


Wolfgang Windgassen (Siegfried), Birgit Nilsson (Brünnhilde), Gottlob Frick (Hagen), Gustav Neidlinger (Alberich), Claire Watson (Gutrune), Dietrich Fischer-Dieskau (Gunther), Christa Ludwig (Waltraute), Lucia Popp (Woglinde), Gwyneth Jones (Wellgunde), Maureen Guy (Flosshilde), Helen Watts (Erste Norn), Grace Hoffman (Zweite Norn), Anita Välkki (Dritte Norn)

Vienna Philharmonic Orchestra, Vienna State Opera Chorus, Sir Georg Solti

Sir Georg Solti’s Wagner’s epic music-drama Der Ring des Nibelungen was the first-ever studio recording of Wagner’s masterpiece on an unprecedented recording scale without precedent. Masterminded by legendary producer John Culshaw and his technical team under the direction of chief engineer Gordon Parry between 1958-1965, this massive undertaking set new standards in both opera recording and the possibilities of the effective and imaginative use of stereo.

The combination of Sir Georg Solti and the Vienna Philharmonic with an international cast of the greatest Wagnerian singers available resulted in a recording which was greeted with exceptional enthusiasm and rave reviews and which quickly won numerous international awards. This edition offers something that is the supreme sound experience of what is generally acknowledged to be the greatest version of Wagner’s supreme masterpiece.

Containing Wagner’s libretti, this audiophile edition offers something that is the supreme sound experience of what is generally acknowledged to be the greatest version of Wagner’s supreme masterpiece.

This release replicates the glorious 14CD deluxe edition (0028947837022), which sold 6000 units.

This release requires a Blu-Ray player, and contains no video content other than an on-screen menu. It plays on a standard Blu-Ray player, and is not restricted regionally in any way. A Blu-Ray player can be a very simple and affordable addition to any hi-fi system, enabling true 24-bit playback.

24-bit, 48kHz

“a living, convincing, whole, holistic and vibrant experience is just what this edition faithfully reflects the spaciousness and appropriate aura that would have been experienced had you been sitting in on those amazing recordings in Vienna's Sofien Hall over 50 years ago...this is a superb release: it has everything that the original (many would say the best) complete Ring recording had – and much more.” Classical Net, 2013

“It’s the most gorgeous thing, even though it’s not exactly a bargain, and it’s never sounded better either.” Limelight Magazine, 13th March 2013

Decca - 4786748

(Blu-ray Audio + Book)


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Strauss, R: Salome

Strauss, R: Salome

Richard Cassily (Herod), Mignon Dunn (Herodias), Gwyneth Jones (Salome), Dietrich Fischer-Dieskau (Jochanaan), Wieslaw Ochman (Narraboth) & Ursula Boese (Herodias’s Page)

Orchester der Hamburgischen Staatsoper, Karl Böhm

When the young Karl Böhm, fresh from his studies in Vienna, returned to Graz to take up a post at the opera house, which had a good reputation, his place, naturally, was at the bottom of the ladder and the operas of the great Richard Strauss were quite simply out of his reach. He conducted a performance of the Alpine Symphony in the Stefaniensaal in Graz, and sent the laudatory reviews to Strauss, in the hope of making himself known to the composer as an interpreter of his work, but he was not allowed near the operas. And when, eventually, he did, it was Die Frau ohne Schatten, Ariadne auf Naxos and Elektra that he conducted much more so than Rosenkavalier or Salome. It may sound strange, but out of the 147 performances of Salome logged by the Vienna State Opera between 1945 and 1980 Böhm conducted only 14. His only official recording of the work was made ‘live’ in Hamburg on 4 November 1970. The part of the protagonist marked a first for Gwyneth Jones; it was later to become one of her signature roles.

“the best aspects of this live set are Richard Cassilly's Herod and Karl Böhm's adroitly disciplined conducting.” BBC Music Magazine, January 2015 ***

“Karl Böhm was probably the greatest Strauss opera conductor of his time. He was unique in the way he was able to combine the delicate transparency of the colorful orchestration and exotic harmony without underplaying the massive climaxes and Strauss’s “nerve-end contrapuntalism” Fanfare

“singing of grandeur and magical intensity [from Gwyneth Jones, in the last scene] [...] [Fischer-Dieskau’s] denunciation of the “Tochter Sodoms” chills the spine” Gramophone Magazine

Australian Eloquence - ELQ4807210

(CD - 2 discs)


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Strauss, R: Elektra

Strauss, R: Elektra

Inge Borkh (Elektra), Jean Madeira (Klytämnestra), Marianne Schech (Chrysothemis), Fritz Uhl (Aegisth) & Dietrich Fischer-Dieskau (Orest)

Chor der Staatsoper Dresden & Staatskapelle Dresden, Karl Böhm

Karl Böhm made the first complete stereo recording of Elektra in 1960 for Deutsche Grammophon and to this day, remains one of the sonically and artistically most exciting recordings of this work. Böhm knew Strauss personally (the booklet includes a delightful photo of the two of them relaxing together!) and conducted several premieres of the composer’s works. All the principals, led by Inge Borkh, are thrilling and incisive, and it is fitting that in this, the 150th anniversary of Strauss’s birth, this key recording be reissued.

“It is a joy to hear [Inge Borkh’s] high notes, loud or soft, taken so securely and so dead centre. She makes such things as the end of the Agamemnon monologue, the trying passage at the end of her scene with Klytemnestra, and her part in the final duet, absolutely thrilling … grand, true and beautiful singing allied to a fine conception of the great role […] Jean Madeira’s dark, rich toned voice is natural for the part of Klytemnestra […] it goes without saying that Fischer-Dieskau makes a living person of Orestes […] Fritz Uhl gives an excellent portrayal of the ill-fated Aegisthus […] Karl Böhm commands the greatest admiration … the huge orchestra plays superbly […] As for the recording, it is so good and spacious that one rarely adverts to it” Gramophone Classical Music Guide, 1961

“Borkh makes Elektra womanly from the start, Jean Madeira enunciates the second part of the Klytemnestra scene with a quasi-improvisatory clarity, the orchestra's parallel triads slither and shriek, and there is Dietrich Fischer-Dieskau: solemn, fearful, with an almost dismissive inflection” Gramophone Classical Music Guide, 2013

Australian Eloquence - ELQ4807216

(CD - 2 discs)


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