lieder singer

In the forward written by Juliane Banse, esteemed German opera and lieder singer, there is a lovely discussion of the germinating idea behind the series, that is, the idea of vocal self-discovery, with an admonition to the young singer to "approach this 'time of discovery' with zest and enthusiasm, to try things out, and take great care to follow her intuition, in order to find out how and where her own voice feels comfortable and opens up." This delightful approach to aiding the young singer in her/his technical and artistic journey permeates every element of these anthologies.

Austrian baritone Florian Boesch, also renowned as a lieder singer, approaches the part with the same concentration and beautiful tone and diction as he would in Schubert's Winterreise.

She is an Officer of the Order of Canada who has performed as a celebrated lieder singer in London, Paris, New York, Moscow, Amsterdam, Buenos Aires, Frankfurt, Florence, Munich, Berlin, and Vienna.

Schroeder even interprets the strong negative reaction to the opera of Schubert's contemporary and influential champion, opera and lieder singer Johann Michael Vogl, as evidence that the work was hiding a subversive message, presumably one that would be obvious to operagoers but not to the invariably clueless censors.

"They are equally talented but Dame Kiri, Renee Fleming (US opera and lieder singer) and Angela Gheorgiu (Romanian opera singer) are very different animals to the likes of Hayley or Charlotte Church.

Goerne's former teacher, Dietrich Fischer-Dieskau, denounced the project in advance as "ridiculous, stupid and wrong." On the other hand, Melanie Eskenazi, who considers Goerne the greatest Lieder singer who is still performing, loved it, and concluded by saying, "A tremendous recital: none of these works will ever sound the same again."

One has the great German lieder singer Peter Schreier with pianist Andras Schiff, singing Schubert, including the Schwanengesang, recorded in 1991.

Declaring that the Lied melody should be enjoyable even when played on an instrument without reference to the words, he stipulates that the Lieder singer is `narrating' the scenario or atmosphere of a song, as distinct from `impersonating' or `representing' the protagonist or his emotions.

Think of the "classics" available to a concert pianist or a lieder singer, for example, and then think of the dancer's "classics" such as Giselle or Swan Lake.

Thomas Hampson, who sang Billy, is one of the hottest baritones around, much in demand as a Rossini and lieder singer; he is accomplished, reliable, ingratiating.

Magdalena Kozena, intelligent and firm-toned, sounds too mature for the ingenue Melisande - unlike Karajan's Frederica von Stade the finest modern interpreter of the role - while Christian Gerhaher's Pelleas is more lieder singer than lover.

Finley's Escamillo, for example, was sung with a lieder singer's care for words (and the best French to be heard onstage in either opera).