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| 1. O sancta justitia! Ich Möchte rasen from "Zar und Zimmermann" - Albert Lortzing |
| 2. Den hohen Herrscher würdig zu empfangen from "Zar und Zimmermann" - Albert Lortzing |
| 3. Sonst spielt ich mit Zepter, mit Krone und Stren from "Zar und Zimmermann" - Albert Lortzing |
| 4. Fünftausend Taler! Träum oder wach ich? from "Der Wildschütz" - Albert Lortzing |
| 5. Laß Er doch hören! Bei diesem schlimmen Fall from "Der Wildschütz" - Albert Lortzing |
| 6. Wie freundlich strahlt die holde Morgensonne from "Der Wildschütz" - Albert Lortzing |
| 7. Wo berg ich mich? Schweigt, glühnden Sehnens from "Euryanthe" - Weber |
| 8. Gar viel und schön ward hier in dieser Halle from "Tannhäuser" - Wagner |
| 9. Wie Todesahnung Dämmrung deckt die Lande--O du, mein holder Abendstern from "Tannhäuser" - Wagner |
| 10. Wie schön ist doch die Musik from "Die schweigsame Frau" - Richard Strauss |
The programme opens with scenes from two comic operas by Albert Lortzing, who wrote his own libretti in which he parodied his characters as well as opera in general--one aria quotes a whole couplet, notes and text, from Rossini’s Barber of Seville (in the German translation)--and closes with the final monologue from Richard Strauss’s Die schweigsame Frau. Wagner is preceded by a melodramatic aria from Carl Maria von Weber’s Euryanthe.
The performances are superb. Quasthoff and Thielemann work together with the rapport of kindred spirits, though this is their first collaboration, and the orchestra abets them all the way. Putting his incredibly beautiful, infinitely variable voice and consummate technique entirely at the service of words and music, Quasthoff displays an uncanny ability to bring characters instantly to life. He relishes Lortzing’s ironic humour and makes the frustrated rage of Weber’s villain quite terrifying. Fulfilling what must be every singer’s dream, he picks the best arias from several roles, but gives each a distinct personality. Oddly enough, the popular title piece is the only one that sounds exaggerated and artificial. The final aria is pure Straussian magic: a beautiful, simple song ending in a kind of benediction; the voice drifts away and melts into the orchestra. Unfortunately, the booklet includes no explanation of the unfamiliar operas’ plots.--Edith Eisler
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