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Product details
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Track Listings
| 1. Die Zauberflote: Der Vogelfanger bin ich ja |
| 2. Die Zauberflote: Bei Mannern, welche Liebe fuhlen |
| 3. Die Zauberflote: Ein Madchen oder Weibchen |
| 4. Le nozze di Figaro: Hai gia vinta la causa ! |
| 5. Le nozze di Figaro: Crudel ! perche finora |
| 6. Don Giovanni: Deh, vieni alla finestra |
| 7. Tannhauser: Blick ich umher in diesem edlen Kreise |
| 8. Tannhauser: Wie Todesahnung...O du mein holder Abendstern |
| 9. Szenen aus Goethes Faust: Ein Sumpf zieht am Gebirge hin |
| 10. Konigskinder: Verdorben! Gestorben!... Ihr Kindlein, sie sind gefunden |
| 11. Ariadne auf Naxos: Harlekinlied |
| 12. Die tote Stadt: Mein Sehnen, mein Wahnen |
| 13. Wozzeck: Wir arme Leut! |
| 14. Wozzeck: Dort links geht's in die Stadt...Du sollst da bleiben, Marie |
Product Description
Amazon.co.uk Review
It was only a matter of time, I suppose, before Matthias Goerne would go the way of all big-league artists and present the world with a "best of"-style arias album. But hang on a second, this disc doesn't exactly conform to type. To start with, the photo of Goerne on the disc case is hardly the poised glamour-shot of the superstar; in fact he looks as if he's about to pull a knife on you. Then turn to the back and glance down the list of arias--Mozart, Wagner, Schumann, Humperdinck, Strauss, Korngold, Berg--not exactly a "greatest hits" mass-market pleaser. What we have instead is a serious album of carefully chosen, wonderfully sung arias and opera excerpts, ranging from the charming "Ein Mädchen oder Weibchen" from Mozart's Magic Flute and the beguiling "Harlekinlied" from Strauss's Ariadne auf Naxos to the sombrely dramatic Wozzeck excerpts and a most moving "Die Todesahnung" from Wagner's Tannhäuser. Perhaps the highlights are the excerpt from Schumann's Szenen aus Goethes Faust which ideally shows the depth and lustre of his voice, and the ethereal "Verdorben! Gerstorben!" from Humperdinck's Königskinder. Goerne is joined by the magnificent soprano Dorothea Röschmann on four tracks and throughout Manfred Honeck and the Swedish orchestra accompany superbly. Another plus not always found on this type of disc: full texts and translations. Bravo! --Harriet Smith
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
4.0 out of 5 stars (2 customer reviews)
5 of 6 people found the following review helpful:
5.0 out of 5 stars
Goerne Excellent in Familiar and Unusual Repertory, 10 Oct 2003
By A Customer - Published on Amazon.com
This review is from: Romantic German Arias (Audio CD)
Many baritones record Papegano's first aria ("Die Vogelfanger bin ich, ja"), Don Giovanni's serenade, and Wolfram's Evening Star Song. But when was the last time you saw Count Almaviva's aria ("Vedro, mentr'io sospiro") from LE NOZZE DI FIGARO, Wolfram's "Blick, ich umher," or the murder scene from WOZZECK excerpted on a recital disc? Matthias Goerne's "Arias" CD includes all of these items and more, all sung with beauty, feeling, and musicality by one of the most intelligent and charismatic male singers of today. Goerne is joined in three duets ("Bei Mannern" from DIE ZAUBERFLOTE, "Crudel, perche finora" from FIGARO, and the WOZZECK scene) by soprano Dorothea Roschmann, whose sound isn't quite to my taste (it's a bit lacking in warmth) but who is as musical and as sensitive as her partner. The conductor, Manfred Honeck, is also an ideal match both for Goerne and for the music. Matthias Goerne's "Arias" is an indispensable disc for admirers of German music, the baritone voice, or Goerne himself -- or for those who would just like to hear an interestingly programmed aria recital.
2 of 7 people found the following review helpful:
3.0 out of 5 stars
A captivating stage performer doesn't register as dramatically on disc, 23 Sep 2005
By Santa Fe Listener - Published on Amazon.com
This review is from: Romantic German Arias (Audio CD)
Matthias Goerne's picture on the cover of this CD implies an edgy, even angst-ridden interpreter, but the singing one finds inside is good average baritone work. I hear no musical revelations here, and although Goerne's voice is instantly recognizable by its warm, honeyed tone, his characterization is rather faceless and his dramatic approach too limp. He lacks edge and anger when singing the Count in Figaro, only to turn around and lack humor as Papageno from the Magic Flute. The best items are lyric, legato numbers like the aria from Korngold's Die tote Stadt. But strangest of all are the excerpts from Wozzeck, which Goerne sings straight, attempting not the slightest hint of Sprechstimme. It's not as though Berg made that optional.
If you think Hermann Prey or Theo Adam is a great baritone, I guess you'll think Goerne is one, too. Compared to a similar baritone recital on Sony with Bo Skovhus, I'd give the edge to Skovhus. Thomas Hampson, Thomas Quasthoff, and Dmitri Hvorostovsky have nothing to fear; maybe even Nathan Gunn has nothing to fear. All in all, I expected more from a singer whose reputation is flying high.
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