Salzburg Recital

• Fritz Wunderlich, Hubert Giesen (piano)
  • Beethoven - Adelaide op. 46
    - Mailied op. 52,4
    - Der Wachtelschlag WoO 129
    - Resignation WoO 149
    - Der Kuß op. 128
  • Schubert - Der Einsame op. 41 D 800b
    - Nachtstück op. 36,2 D 672
    - An die Laute op. 88,2 D 905
    - Lied eines Schiffers an die Dioskuren op. 65,1 D 360
    - An Silvia op. 106,4 D 891
    - Der Musensohn op. 92,1 D 764
  • Schumann - Dichterliebe, op. 48,1-16
  • Schubert - Im Abendrot D 799
    - Die schöne Müllerin: Ungeduld D 795,7

• Franz Endler in "Presse", Vienna: "It is Wunderlich's special merit that he senses the joy and sorrow in lieder from the musical line, obviously not brooding or searching for secrets or wishing to discover nuances. That nevertheless, on this path, he reveals what is secret and knows how to convince wit an extreme wealth of nuance is self-evident [...] After Adelaide came the Mailied, Der Wachtelschlag, Resignation and Der Kuß and a series of six splendid Schubert songs: this time Nachtstück was the finest in the sequence, in which otherwise, above all, the popular songs were sung - An Silvia, An die Laute, and finally Der Musensohn.
  After the interval a dream was fulfilled for many in the audience. Wunderlich sang the Dichterliebe, the most beautiful, profound, heartfelt of Romantic song cycles. [...] Heine finds simplicity, a plain folklike feeling in these poems; and Schumann, overwhelmed by all the colours the poet offers him, writes, apparently at one stroke, songs of a vast, rapturous love that makes the image of the Virgin a likeness of the beloved, yet does not blaspheme in so doing. This cycle was sung unpretentiously and with all the beauty of voice that Wunderlich now has to offer. In one and the same breath one could single out some of the songs and then refrain from doing so. But this time, Ich hab im Traum geweinet was particularly lovely ['schön'] (this word 'lovely' must for once be divested of all casual usage and be rightfully employed), and the last two strophes, Aus alten Märchen winkt es and Die alten bösen Lieder came as wonderful farewells to a great passion." [translated by Lionel Salter, quoted from the Orfeo d'Or CD booklet]
• K. Honolka in "Opernwelt", 4/85: "Wunderlich live - and it is almost incredible how little the cut backs are which are normally expected. It is true that not every single note glistens like a jewel and that the deep register sounds dim sometimes - but that does not mean anything regarding the vocal splendour, the formal refinement, the empathy of style of this exceptional tenor! Wunderlich sings in total harmony with his partner and mentor, the unforgotten Lieder accompanist Hubert Giesen."

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	Orfeo d'Or C432 961B
	Acanta 43 529
	ARTS 43022
	Acanta 40.23 529

Excerpts on

	MYTO MCD 890.11 (+ Edinburgh Recital)
	MYTO 915.44 (+ Gluck: Iphigénie en Tauride, 2 CD)
	MYTO 916.48 (+ Verdi: Messa di Requiem, + excerpts from La Traviata, 2 CD)

Fritz Wunderlich Discography