Lieder Auf Banz

Simon Keenlyside has the instrument, the technique, and the intelligence required of great lieder singers. His burnished baritone is large, but he can deploy it with tenderness, as well as power, and he has the flexibility to bring a broad array of colors to the songs' varied moods. This is especially impressive in Schumann's Dichterliebe, where the songs have an emotional arc with an implied narrative, and Keenlyside captures the mercurial shifts with passion and integrity. Even in a song as brief as "Ich grolle nicht," the subtlety of the lover's evolving feelings come across honestly and with precision.

Leading dramatic soprano Susan Bullock offers a stunning recording for Avie’s innovative Crear Classics series with a recital of songs which are linked by the theme of love and aspects of love. Covering a vast period from 1880 to the 1950s, the 19th century is represented by Richard Strauss in his youthful and flirtatious three early Lieder, and Wagner in his mature romance with Mathilde Wesendonck which resulted in the songs bearing her name. Prokofiev’s wistful and woebegone love songs are a fascinating complement to Britten’s Pushkin settings. Selections by the quintessential song composers Roger Quilter and Ned Rorem round out the eclectic programme.

Nathan Berg is already well known to audiences from his many recordings in operas, cantatas, masses and symphonies working with conductors such as Rene Jacob, William Christie and Robert Shaw. He has recorded for Harmonia Mundi, Telarc, Philips and Erato. On Hyperion he has recently appeared with Marjana Lipovsek in Graham Johnson’s complete Schubert series, and with Sophie Daneman in Mendelssohn. For his debut solo disc on ATMA Nathan Berg has selected a programme covering more than a century of romantic German lieder, including some of the best-loved songs of the genre by Schumann, Brahms, Strauss and Schubert.

You might guess from the disc’s title (“Loneliness”), not to mention from the cover art, that isn't going to be the most cheerful of recitals; but in fact it isn't the least bit morose. Matthias Goerne has used his time with Harmonia Mundi to show that he is one of the most distinguished baritones singing Schubert today (review), and here he gives us his first Schumann recital, which proves to be every bit as distinguished; perhaps even more so, because since recording the Schubert series Goerne’s voice has darkened into an instrument that is even better suited for exploring the world of Schumann’s melancholy.

She's not shy, this Anne-Sofie von Otter. Her performances are, to say the least, incredibly expressive. Her Suleika I (D. 720) is Brigitte Bardot in Contempt. Her Im Abendrot (D. 799) is Kim Novak in Vertigo. Her Totengräbers Heimweh is Eli Walach in The Good, the Bad and the Ugly. Nor is von Otter dumb. Her interpretations are sly, subtle, and very, very sensitive. Her Der Wanderer an den Mond (D. 870) is hearty and lightly but profoundly philosophical.

By 1976 Fischer-Dieskau had been performing before the microphone for almost thirty years and was approaching the end of his vocal prime – he turned 51 that year. Yet his mastery of Wolf's intricate, concentrated, turn-on-a-dime idiom was at its height. You can buy any number of individual recitals by him that feature Wolf, and 175 songs on six CDs is a lot to absorb. Nonetheless, this budget repackaging is a must-listen. The singer got a new lease on his artistic life by taking up partnerships with noted pianists like Brendel, Richter, and Barenboim.