Prey’s legendary Schubert song cycle for the first time on BD. Prey, best known as a master of German art song, was a worldwide celebrated baritone with an international career over 45 years at the MET, Bayreuth, Salzburg, Japan, La Scala, etc. “In his finest interpretations Hermann Prey sang Winterreise and Die schöne Müllerin with a captivatingly natural phrasing that flowed organically like a river and as such was the very opposite of the more intellectual approach of his rival, Dietrich Fischer-Dieskau.” – DIE ZEIT Online, 1998
Diana Damrau & Jonas Kaufmann – Love Songs
“They languish until the last encore” Wiener Zeitung, “A deeply felt, rapturous performance” (The Guardian) A radiant concert at the Great Golden Hall of the Wiener Musikverein: Diana Damrau and Jonas Kaufmann, luminaries of the classical realm and celebrated interpreters of Lieder, breathe life into love songs of two titans of romanticism, Robert Schumann and Johannes Brahms. They explore love’s myriad dimensions through soul-stirring solos and mesmerizing duets in a journey through a kaleidoscope of emotions, from reverie and yearning to the bliss of fulfillment, tempered by moments of heartache, resignation, and sacrifice, charming and moving. Adding to the magic is their esteemed collaborator at the piano, the incomparable Helmut Deutsch, whose artistry enhances every note and infuses the music with an undeniable depth of expression.
Hermann Prey – The Schubert Song Cycles
“In his finest interpretations Hermann Prey sang Winterreise and Die schöne Müllerin with a captivatingly natural phrasing that flowed organically like a river and as such was the very opposite of the more intellectual approach of his rival, Dietrich Fischer-Dieskau.” – DIE ZEIT Online, 1998
“The velvety, silky timbre of his soft-grained and yet distinctively striking baritone voice, his charm, his excellent diction and the naturalness of his delivery spiced with a hint of emotion – it is all this that distinguishes the truly outstanding lieder singer.” – Opernglas, 1998. Progamme includes A0550868, A05504159, A05504158 , A05004949, A05501423, A05504146
Introduction: Schubert, Die Winterreise (The Winter Journey), D.911, op.89
Schubert, Die Winterreise (The Winter Journey) D.911, op.89. Lieder Cycle based on poems by Wilhelm Müller
The internationally acclaimed baritone Hermann Prey was born in Berlin in 1929. He made his breakthrough in 1956 as Figaro in the Vienna State Opera’s production of Rossini’s “Barber of Seville”. He has since performe at all of the world’s great opera houses and festivals. Hermann Prey has always loved lieder, especially the works of Franz Schubert. This inspired him to found the Schubertiade, a festival in Hohenems, Austria, entirely devoted to this composer’s works. He also established the New York Schubertiade in 1988.
Diana Damrau and Jonas Kaufmann – Lieder
Diana Damrau and Jonas Kaufmann interpret love songs by the two important romantic song composers Robert Schumann and Johannes Brahms. In their concert evening full of stirring emotions, the stars of the classical world sing of love in all its facets: from reverie and longing, from the happiness of fulfilment to disappointment, resignation and renunciation. The two artists are accompanied by their longtime partner on the piano, Helmut Deutsch.“A deeply felt, rapturous performance” (The Guardian)
Doppelganger – Jonas Kaufmann
Contemporary Opera Director Claus Guth and celebrated Set Designer Michael Levine transform PARK AVENUE ARMORY Hall for a spectacular reimagining of Schubert’s Schwanengesang. The cycle forms a series of masterful snapshots of all that life has to offer, and features a performance that transcends genre: Jonas Kaufmann and his longtime accompanist, pianist Helmut Deutsch, interpret the collection of songs, augmented by additional Schubert repertoire an atmospheric soundscape and transformative light and video projections to create a production that is part performance, part installation. “a rare treat … the theatrical ingenuity and visceral force was so strong that the audience let out an audible gasp of shock” (The New York Times), “a remarkable theatrical coup … Kaufmann’s burnished tenor remains potent, unleashing powerful torrents of sound.” (The Financial Times), “Doppelganger is awesome experimental theater on a grand scale … There’s really nothing like it in New York right now.” (Theatermania)