Britten, England's preeminent composer in 1962, had written "Requiem" as a 90-minute musical reflection on the horrors of war and chose three singers to represent a major power in World War II: Russian-born soprano Galina Vishnevskaya, British tenor Peter Pears and German baritone Dietrich Fischer-Dieskau
DG had to reinvent itself, and it did, by gathering some of the greatest names in the business, such as the conductors Herbert von Karajan, Karl BE[micro]hm and Wilhelm FurtwEnngler and the singer Dietrich Fischer-Dieskau
, to name but a few.
Few works offer so much space for recording comparison as Winterreise, and that is not to speak of the untouchable Dietrich Fischer-Dieskau
, the incomparably original and enthralling Brigitte Fassbaender, or the great song interpreters of previous decades such as Thomas Quasthoff or Ian Bostridge.
Ond ro'n i wedi clywed ei lais yn canu pethau fel 'Elen Fwyn' a 'Lausanne' ar y radio dros y blynyddoedd, ac mewn teulu o gantorion mae'n anodd peidio a chlywed am enwau o'r gorffennol fel Mario Lanza, Dietrich Fischer-Dieskau
- a David Lloyd.
Her recorded legacy includes Donna Elvira in Don Giovanni opposite Dietrich Fischer-Dieskau
in the title role, conducted by Hans Lowlein, released on the Deutsche Grammophon label.
Appl's a former protege of Fischer-Dieskau
, but he's no unreflecting traditionalist.
He attended master classes with Piero Miranda Ferraro, Ditrich Fischer-Dieskau
, Julia Varady, Montserrat Caballe, Francisco Araiza, Romualdo Sevastano and Brigitte Fassbaender.
Reimann's Lear was written for Dietrich Fischer-Dieskau
and first performed in Munich.
He shares memories of his earliest acquaintance with Winterreise as a pre-teen, and describes being mesmerized by the monumental performance recorded by Dietrich Fischer-Dieskau
. He reminisces about singing Winterreise in Russia where he saw an audience member moved to tears; in the same recital, he felt he was channeling Bob Dylan in "Der Leiermann." This final song elicits a strong response from Bostridge; it is the only song in the cycle in which he sees the piano as separate from the voice in its role as the hurdy-gurdy.
I am falling asleep at age two or three; my father is working in his study after supper, and from the RCA hi-fi in the living room comes the sound of Dietrich Fischer-Dieskau
's voice singing Schubert songs: "An Die Musik," "Der Lindenbaum," and "Lachen und Weinen." Every year I would hear something new added to Dad's collection: Artur Rubinstein was a favourite, as much for his aristocratic bearing at the piano as his interpretive brilliance in Beethoven, Mozart, or Schubert.