Schubert: Rastlose Liebe, D138

“This may be the most perfect of discs, owing to Price's magic partnership with Graham Johnson. Schubert's most popular songs are given a new lease of life.” BBC Music Magazine, October 2011 *****

“At first, I found Price’s characterisation a little detached and impersonal, perhaps because of the very beauty of her voice, but her performances grew on me. Her exemplary phrasing, breath control and seamless musical line are heard to fine effect in Death and the Maiden and Wanderers Nachtlied, and in her broadening out of the glorious “all-liebender Vater” in Ganymede.” Sunday Times, 5th June 2011 ***

“The radiant and robust soprano Elisabeth Grümmer made all too few recordings. These…are cherishable.” BBC Music Magazine, May 2010 ****

“Terfel's gift […] is a generous, individual voice, a natural feeling for German and an inborn ability to go to the heart.” Gramophone Magazine

“one of his first recordings to confirm his exceptional gift of projecting his magnetic personality with keen intensity...[he] is daring in confronting you face to face, very much as the young Fischer-Dieskau did, using the widest range of dynamics and tone.” Penguin Guide, 2010 edition ***

‘They brought their audience’s attention to more details in the Schubert Songs than any artists have before’ The Independent

“…this is one of the darkest, slowest Schwanengesangs on disc: there is a unique menace in the final 'Gute Nacht' of 'Kriegers Ahnung'; and 'In der Ferne' gives full, long weight to those six slow pulses within the last word of each line. Schreier's recital also offers consummate performances of Schubert's Goethe settings...” BBC Music Magazine, May 2006 *****

“The 1991 recital by Peter Schreier and András Schiff is highly desirable, though the sound is not quite on the same level. Schreier was never the most honeyed of tenors; but in the lighter songs of Schwanengesang he compensates for a touch of reediness and a tendency to harden on high notes with the supple grace of his phrasing and his ultra-keen response to the text. Liebesbotschaft is eager and volatile, enhanced by Schiff's wonderfully limpid touch and his care to make the piano's singing left hand match the voice in eloquence (Schubert's original, high, key an advantage, here and elsewhere).
On the downside, Aufenthalt is surely too slow and life-weary, weighed down by recurrent submissive rallentandos. But Das Fischermädchen has a lilting tenderness, Schiff again singing in dulcet partnership with the voice, while in the remaining Heine songs singer and pianist unflinchingly probe the extremes of anguish and bitterness. Die Stadt (the swirling, impressionistic arpeggios eerily insubstantial from Schiff) and Der Doppelgänger are as desolate and disturbing as any performances on disc, the suggestion of a whine, even a sneer, in Schreier's timbre extraordinarily apt here.
After this we get a sharply characterised Goethe group that encompasses the bleakness of the three Harper's Songs (done with characteristic intense immediacy) and ends with an impulsive, dancing Der Musensohn that rightly brings the house down.” Gramophone Classical Music Guide, 2010

“Schreier was never the most honeyed of tenors; but in the lighter songs of Schwanengesang he compensates for a touch of reediness and a tendency to harden on high notes with the supple grace of his phrasing and his ultra-keen response to the text. Liebesbotschaft is eager and volatile, enhanced by Schiff's wonderfully limpid touch and his care to make the piano's singing left hand match the voice in eloquence... Das Fischermädchen has a lilting tenderness, Schiff again singing in dulcet partnership with the voice... Die Stadt (the swirling, impressionistic arpeggios eerily insubstantial from Schiff) and Der Doppelgänger are as desolate and disturbing as any performances on disc...” Gramophone Magazine, July 2006