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Jonas Kaufmann sings Mozart, Schubert, Beethoven & Wagner
Jonas Kaufmann is now established as the most successful and versatile tenor of his generation, attracting rave reviews for his live performances and recordings.
Following the international success of Romantic Arias, Jonas Kaufmann returns with this album of outstanding arias from German opera; music of his homeland which he grew up hearing.
The great opera conductor Claudio Abbado directs the Mahler Chamber Orchestra and Arnold Schoenberg Chor in his first ever vocal recital recording for Decca, and his first Decca recording for almost 40 years.
The album cover shows Jonas Kaufmann as 'Wanderer' - inspired by the much-loved painting by German Romantic artist Caspar David Friedrich.
Jonas Kaufmann's recording of Schubert's great German song cycle Die Schöne Müllerin with pianist Helmut Deutsch, will be released in 2010. This album will be packaged as a 'sister product' to this album of German arias.
“This disc, which has the luxury of Claudio Abbado's magisterial, refined conducting, shows that Kaufmann is at least as fine a Mozart singer as a Wagner one… His outburst from Act II of Parsifal… is a thrilling foretaste of things to come… In Florestan's great aria from Fidelio we have a perfectly controlled expression of agony and exaltation. Everything here makes you crave to listen to this major artist in complete recordings, preferably, given his acting, on DVD.” BBC Music Magazine, November 2009 *****
“…Fidelio, is the centrepiece of this disc: it receives a powerful performance from both tenor (his opening "Gott" is heart-piercing) and conductor. Kaufmann ends where he began, with Wagner. …his beautiful phrasing and controlled singing in the "Winterstürme" shows why he has become the most sought-after tenor of his generation, and is a highlight of this exciting new release.” Gramophone Magazine, Awards Issue 2009
“No other compilation that has crossed my path comes within striking distance of this collection...The baritone-like richness to his singing in the Wagner extracts is especially compelling. That Kaufmann has Claudio Abbado and the superlative Mahler Chamber Orchestra to accompany him only makes the project even more special.” The Guardian, 27th November 2009 *****
“Aside from the smooth, warm masculinity...he has enormous versatility, helped by a voice that, whilst tenor, has the deep tone and resonance of a baritone...These qualities also make Kaufmann the perfect Wagnerian tenor, his voice soaring above Wagner’s lush orchestral textures, and dramatically upping the ante for the many heart-on-sleeve climaxes.” Charlotte Gardner, bbc.co.uk, 24th September 2009
“Kaufmann is slowly but surely demonstrating that he may be the next hot tip. A calling card to be treasured.” Classic FM Magazine, November 2009 ****
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Anton Dermota: Vienna State Opera Recordings 1944-81
Jetzt Schätzchen, jetzt sind wir allein (from Fidelio)
Recorded 5th August 1950
Elisabeth Schwarzkopf (Marzelline)
Gott! Welch Dunkel hier! (from Fidelio)
Recorded 5th November 1955
Dies Bildnis ist bezaubernd schön (from Die Zauberflöte)
Recorded 14th September 1950
Mich schreckt kein Tod (from Die Zauberflöte)
Recorded 11th - 14th November 1944
Irmgard Seefried, Josef Witt, Paul Schöffler
Dalla sua pace (from Don Giovanni)
Sung in German as 'Nur ihrem Frieden'
Sola, sola in bujo loco (from Don Giovanni)
Sung in German as 'Einsam hier an dunkler Stätte'; recorded 6th November 1955
Sena Jurinac (Elvira), Lisa Della Casa (Anna), Irmgard Seefried (Zerlina), Erich Kunz (Leporello), Walter Berry (Masetto)
Il mio tesoro intanto (from Don Giovanni)
Sung in German as 'Folget der Heißgeliebten'; recorded 14th September 1950
Wiener Philharmoniker, Karl Böhm
La mia Dorabella capace non e' (from Così fan tutte)
Erich Kunz (Guglielmo), Paul Schöffler (Don Alfonso)
Fra gli amplessi (from Così fan tutte)
Recorded 8th August 1956
Irmgard Seefried (Fiordiligi)
Die Weisheitslehre….. führt mich der Ton zu ihr from Die Zauberflöte
Recorded 21st January 1981
Hans Helm (Sprecher)
Allein, in dunkler Tiefe (from Palestrina)
Recorded 12th May 1970
Rita Streich (Engel), Hilde Rössel-Majdan (Lucrezia)
Katerina! Sinowi! (from Katerina Ismailowa)
Recorded 10th May 1968
Inge Borkh (Katerina), Fritz Uhl (Sergei)
Di rigori armato il seno (from Der Rosenkavalier)
Recorded June 1954
Ludwig Weber (Ochs), Franz Bierbach (Notar)
Wiener Philharmoniker, Erich Kleiber
Arabella? Unmöglich! (from Arabella)
Recorded June 1957
Lisa Della Casa (Arabella)
Wiener Philharmoniker, Georg Solti
Kein andres, das mir so im Herzen loht (from Capriccio)
Recorded 15th May 1960
Lisa Della Casa (Countess), Paul Schöffler (La Roche), Walter Berry (Olivier)
Mesdames! Ya na sebya vzyal smyelost (from Eugene Onegin)
Sung in German as 'Mesdames, verzeih’n Sie meine Kühnheit'; recorded on 17th June 1955
Leonie Rysanek (Tatyana), George London (Onegin), Mira Kalin (Olga)
Kuda, Kuda 'Lensky's Aria' (from Eugene Onegin)
Sung in German as 'Wohin? Wohin?'
Duel scene (from Eugene Onegin)
Sung in German as 'Da kommen sie'; recorded 26th January 1961
Dietrich Fischer-Dieskau (Onegin), Ljubomir Pantscheff (Zaretsky)
Lovro von Matačić
Voilà tsaritsa etot dyen (from Eugene Onegin)
Sung in German as 'Voilà – die Königin des Tags'; recorded on 10th November 1973
Gleich, Meister! Hier! (from Die Meistersinger von Nürnberg)
Recorded September 1951
Paul Schöffler (Hans Sachs)
Where is the likes of Anton Dermota today?
The Slovenian tenor was not just a member of the Vienna State Opera ensemble for over 50 years, he was also a master of the stage and concert hall, celebrated all over the world from Milan to Buenos Aires. This new release of his performances at the Vienna State Opera makes evident this versatility. His Tamino is given here both at the beginning and the end of our selection,from the immediate post-war years under Karl Böhm, plus an excerpt from the run of performances under Sanderling with which Demota made his farewell to the stage in 1981, at the age of 71! Nor can Dermota’s interpretations of Ferrando and Don Ottavio be omitted from this double CD. It is delightful to contrast the buffo roles and Dermota’s exploits as a tenore lirico spinto, such as Florestan.
The tricky, brief roles in Richard Strauss’ operas, such as the Singer in Rosenkavalier and Matteo in Arabella, were ones he mastered superbly. They too are to be found here, as in the legendary Capriccio ensemble with Elisabeth Schwarzkopf as the Countess. Dermota appeared with various, equally splendid partners in Tchaikovsky’s Eugene Onegin – as Lenski he duelled before the radio microphone with George London and Dietrich Fischer-Dieskau, while as late as the 1970s he turned Monsieur Triquet’s burlesque into a subtle character study.
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