Strauss, R: Di rigori armato il seno (from Der Rosenkavalier) (Italian tenor's aria)

“The ‘sudden’ impact of this artist’s singing is so spontaneous, so dead right, we just dispense with all the analytical microscopy, sit back and delight in the forceful combination of a sunlit Mediterranean voice quality blended with a Central European musical and dramatic intelligence that only a truly charismatic tenor can provide. Amongst his amazing achievements he certainly proved that Mozart could be done with directness and clarity without sacrificing any of the interpretive sophistication that composer demanded, and he showed a whole generation that Richard Strauss did not present insurmountable vocal challenges to tenors who know what they’re doing.” Joseph Calleja

Fritz Wunderlich, Germany's greatest tenor in the 20th century - and one of the greatest tenors of all time - would have celebrated his 80th birthday on 26th September 2010. We commemorate the occasion with an exceptional album of Magic Moments - arias and scenes, almost all first-time releases, taken from live performances at the Vienna State Opera and the Bavarian State Opera, recorded between 1963 and 1966, the year of Wunderlich's death.

The music is by Mozart (The Magic Flute, The Abduction from the Seraglio, Don Giovanni), Rossini (The Barber of Seville - sung in German!) and Richard Strauss (Capriccio, Der Rosenkavalier, Daphne, Die schweigsame Frau) - full details above.

The live quality of the recordings - meticulously remastered by our engineers at the Emil Berliner Studios - gives an extra frisson to Wunderlich's calling-card, the Portrait Aria from Magic Flute (Dies Bildnis ist bezaubernd schön), to the high jinks of The Barber, and the Italian Tenor's Aria from Rosenkavalier.

Also present on the recording: the great Anneliese Rothenberger, who died just recently (Pamina) and Lucia Popp in Strauss's Capriccio

Conductors include Herbert von Karajan, Karl Böhm, Josef Krips and Georges Prêtre. Many of the performances are the from the premières of the productions in question.

“Michael Spyres has a lovely, liquid tenor, all honey for love duets and some metal for cries of outraged honor.” John Yohalem, from Opera Today

You may well be hard-pressed to name a classic opera that lacks a love-story – or a tenor as the main romantic hero. Accordingly, emerging American tenor Michael Spyres has come up with a fresh and fascinating pretext for A Fool for Love: his new collection of tenor arias on Delos.

Michael has carefully selected thirteen mostly well-known arias by composers ranging from Mozart to Stravinsky, encompassing a staggering array of love-related circumstances and emotions. He then sequenced them so as to tell the love-story of a single romantic protagonist. The album’s booklet contains a two-act “plot synopsis,” in which each segment of our hero’s story is indexed to the corresponding aria.

As Michael puts it in his booklet introduction, “What I seek to present to you in this album is a fanciful musical story of a typical war-torn couple, and their struggle to cope with the raptures and ravages of this intangible enigma called love.”

Michael, a Missouri native, completed his studies at the Vienna Conservatory, and is already well-known to European audiences for his critically-acclaimed work in recital, oratorio, and opera. He has appeared at such distinguished houses as Milan’s La Scala and Deutsche Oper Berlin, and worked with conductors like Ricardo Muti and John Eliot Gardner.

Blessed with a supremely versatile instrument, Michael has successfully performed the music of composers from Bach to Wagner, encompassing music of many periods and styles: Baroque, Classical, Bel Canto, and Verismo. He has recorded Rossini’s La Gazzetta, Otello, and Le Siège de Corinthe for Naxos.

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.

The world-famous tenor Mario Lanza performs arias by Donizetti, Meyerbeer, Verdi, Flotow and others.

Kurt Baum seems to have polarized opera fans. Some consider him to be a loud and showy singer with little musicianship, while others wax lyrical about the strength and reliability of his high notes. The tremendous power of his high Cs earned him admiration, but not necessarily respect, from the critics.

In 1955, he sang Jaquino in Beethoven's Fidelio for the reopening of the Vienna State Opera, and performed internationally in roles such as Mirko Zeta in The Merry Widow until the turn of the century. During all this time, the tenor Waldemar Kmentt gave countless dazzling performances on the world's greatest opera stages. This portrait in honour of his 80th birthday is an impressive reflection of his versatility, with excerpts from roles he performed at the Vienna State Opera, where he was based, and where he received the title of 'Kammersänger' and was eventually made an honorary member.The flexibility and brilliant timbre of his voice brought him many roles at the State Opera, both in the legendary Mozart Ensemble under Karl Böhm and as an 'Italian' tenor (though, as usual at that time, mostly in German).A brilliant rendering of the Italian tenor’s aria from Der Rosenkavalier in 1968 under Leonard Bernstein, concludes the cross-section of the prodigious career of a tenor who, ever modest, never relied on mere showmanship.