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Catherine
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« on: 02:16:15, 11-02-2007 » |
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Hi everyone. I heard two songs from Schubert's Winterreise on In Tune on Friday evening, and I liked them quite a lot ( so investigated the text - link below). I was wondering how people here felt about these songs, and, in addition, if anyone could recommend a good recording. http://www.gopera.com/winterreise/songs/cycle.mv |
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trained-pianist
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« Reply #1 on: 08:26:51, 11-02-2007 » |
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I think Dietrich Fischer-Diskau is a favourite of many people here.
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Tantris
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« Reply #2 on: 08:30:15, 11-02-2007 » |
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Fischer-Dieskau / Moore for a 'classic' reading, or Britten / Pears for something entirely different (and wonderful).
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Soundwave
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« Reply #3 on: 10:30:14, 11-02-2007 » |
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I would go for Fischer-Dieskau. Sadly, and, no doubt, the fault is mine, I have never been able to stand Peter Pears voice. Cheers  |
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Ho! I may be old yet I am still lusty
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Mary Chambers
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« Reply #4 on: 10:52:27, 11-02-2007 » |
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One of my favourite pieces of all time. The Britten/Pears recording is out of this world for understanding and musicality, whether you can stand Pears's voice or not. I practically worship him myself - the poet of singing.
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oliver sudden
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« Reply #5 on: 11:08:04, 11-02-2007 » |
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how people here felt about these songs, They've been my dear companions and consolation for as long as I can remember. There's no music quite like them. and, in addition, if anyone could recommend a good recording. My very first CD was Fischer-Dieskau with Brendel and I still think it's very fine indeed. Fischer-Dieskau with Demus on DG is also extremely fine; Fischer-Dieskau with Moore as well and it would probably top any poll on the subject. I don't know the Pears/Britten! Isn't that dreadful. Must fix that. Schreier/Schiff is also wonderful I think, although Schreier's voice divides opinions rather in the way Pears's does. Prégardien/Staier (with a fortepiano) is great although perhaps not the very best of what those two have done together. Christine Schäfer recently made a very fine recording with Eric Schneider - the temperature's relatively cool but that's not entirely inappropriate. The quibble for me is that her portamento will have taken me a lot of getting used to if I ever get used to it. At the other end of vocal ranges is Hans Hotter, again with Gerald Moore. Also very fine although for some reason I can suspend disbelief for a soprano more easily than I can for a bass. |
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Tam Pollard
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« Reply #6 on: 11:42:29, 11-02-2007 » |
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Mary, have you heard Bostridge in this cycle? What do you think? I believe there is a DVD as well.
Personally I don't much care for Bostridge - I find the way he over-acts particularly off-putting in the concert hall. I was at one performance at the Maltings (I'm afraid I forget what the works were) where the final song ended finished with a couple of minutes of the piano on its own, Bostridge stood leaning over it looking for all the world like he was going to be sick into it. I find that more and more this creeps into his voice. I also take a rather dim view of the way he behaved at the 2005 Edinburgh festival (he arrived mid-way into the recording sessions for Clemenza di Tito and then stormed out on the first day and jumped straight on a train back south after having had his pronunciation criticised, leaving both the recording and the concert performance in the lurch). I've only come to really love Schubert's lieder comparatively recently but have been having a wonderful time exploring this box of Fischer-Dieskau singing just about everything (they've put it up from the bargain basement £30 when I bought it, but even at £60 it's still a steal). regards, Tam |
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oliver sudden
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« Reply #7 on: 11:58:50, 11-02-2007 » |
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this box of Fischer-Dieskau singing just about everything Ah, I have that from the days when it was three little cardboard boxes of which Vol III was the song cycles and the others were The Other Stuff I and II. Anyone else a secret fan of D7, Leichenfantasie? 20 minutes long, complete stylistic mishmash, covers two octaves and a semitone for the voice. Actually first discovered it on a Prégardien/Staier disc. It's a wonderful thing. |
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Tam Pollard
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« Reply #8 on: 12:04:59, 11-02-2007 » |
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I'll confess to that Oliver. But, in truth, I very much enjoy all the Schiller settings Der Taucher (D77) being a particular favourite.
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Tantris
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« Reply #9 on: 13:35:59, 11-02-2007 » |
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Anyone else a secret fan of D7, Leichenfantasie? 20 minutes long, complete stylistic mishmash, covers two octaves and a semitone for the voice. Actually first discovered it on a Prégardien/Staier disc. It's a wonderful thing.
I don't like this at all, I'm afraid - it relies on heavily set gothic imagery, and ends with a clang ( Nimmer gibt das Grab zuruck)! Some of my German friends find Schubert a little difficult to listen to because the language can be overheated at times. Even Schiller had doubts at times about the worth of his poetry. I quite like Schubert's setting of Schiller's Die Burgschaft, though, which Pregardien has also sung, with Staier on the fortepiano. |
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Catherine
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« Reply #10 on: 16:04:11, 11-02-2007 » |
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Thanks everyone. I think I might try the Fischer-Dieskau/ Moore before anything else as that's had unanimous praise, but all the responses so far have been informative and interesting.
I'll get back to you once I'vw listened to all the songs in Winterreise.
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Woodbine
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« Reply #11 on: 16:14:37, 11-02-2007 » |
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Re Bostridge- I remember about four year ago on an open radio interview (Edinburgh Festival?) Ian taking umbrage at the 'constant' French criticism of his GERMAN accent. A German gentleman in the audience soothed his ego by saying his German was irreproachable.
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ulrica
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« Reply #12 on: 10:17:38, 13-02-2007 » |
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John Tomlinson is singing Winterreise at St John's, Smith Square tonight (am I right in thinking that this is why it featured on In Tune late last week?). I haven't yet decided whether to go: I'm a big fan of John Tom, but I'm not convinced that Winterreise is suitable repertoire for him. Any views?
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oliver sudden
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« Reply #13 on: 10:37:52, 13-02-2007 » |
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On the one hand he's someone I would probably want to see, whatever he was doing. On the other if someone's just wrong for a piece, well, it's not a very short piece, is it?  |
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ulrica
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« Reply #14 on: 10:50:50, 13-02-2007 » |
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Most helpful, opilec, thanks. What you describe is pretty much exactly what I would have expected of JT in this music and, as you suggest, it probably does have its own validity. David Owen Norris is the accompanist this time round, which could be good (though if it were Malcolm Martineau I wouldn't hesitate).
Ollie: your views reflect mine precisely! It'll certainly be a gamble if I do go.
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