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4.7 out of 5 stars
Schubert: Winterreise
Format: Audio CD|Change
Price:£33.31+ £1.26 shipping

on 9 April 2014
I am well acquainted with Kaufmann's superb performances in opera but I approached his journey into lieder with some trepidation. I need not have worried!. The superb voice was there in abundance but his complete understanding of the text and his wonderful interpretation of each song with their differing nuances was masterful. Helmut Deutsch was the perfect accompanist and contributed massively to the successful project.

I have heard many previous versions of this famous song cycle by some excellent artists including Dietrich Fischer Diskau but, to my mind, none has approached this latest attempt and, certainly, none have reduced me to tears at the end. Thank-you Jonas Kaufmann.

May we expect Tristan within the next couple of years?
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on 5 December 2017
Wonderful recording a nd performance. Highly recommended
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on 27 April 2017
I did enjoy the lieder. Thanks.
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on 14 October 2014
'Winterreise' as you've never heard it before: dramatic (perhaps a tad too much at times) and of unparalleled mastery of technique: the full range of vocal effects, so that the overall effect isn't one of desolation and despair, as so often with this piece, but of vigour and resignation at the same time.
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on 27 May 2017
Outstanding interpretation. Kaufmann is the best singer of Winterreise ever.
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on 26 March 2014
“Winterreise” (D 911), Franz Schubert’s cycle (1797-1828) on poems by Wilhelm Müller, is a musical drama that can be read as the story of a young man, desperate on account of a lost love who travels through a winter landscape, and also as the discovery of the desolation of a man, expressed in the description of the climate, finding the ultimate realities. It is, therefore, a cycle about death, perceived as longing and rest. Death, in this case, replaces what has been lost; the further the young man distances himself from his love, the further he distances himself from his life. A really deep sea in 24 songs; an open sea of feeling.

Tenor Jonas Kaufmann addresses this huge work from emotion and his wager renews each Lied for our time and works as catharsis. It purifies, in a sense. His many nuanced voice, to which he confers abysmal meanings, builds an environment that is essentially meditative and dreamlike, as if the “moment” in which it is produced were the one which precedes death, in which a whole life or the most important things in it are recapitulated. He insists on solitude and in the option to finish once for all.

“Gute nacht” (Good night) is the first poem and it begins with the word “Fremd”, stranger, because as such we come into the world and into love. Kaufmann reveals right from the start the state of dejection of the wanderer, whom he will move through pain and fury, showing the understandable weakness of his pleas, as in “Die Wetterfahne” (The Weather-vane): Was fragen sie nach meinen Schmerzen? (Why should you worry about my suffering?).

The piano, in the miraculous hands of Helmut Deutsch, draws the notes that describe “Gefrorne Tränen” (Frozen Tears) and Jonas Kaufmann resorts to alchemy in the question “Dass ich geweinet hab?” (Have I cried?) to tell us that he has done so and that the drops that fall from his eyes are so warm that they freeze “like the cold water of dawn” (“wie kühler Morgentau”). His voice seems that of a bass-baritone in “Ei Tränen, meine Tränen” (Oh tears, my tears), as it sinks into the depths —how low can he sing? — in “Des ganzes Winters Eis!” (All the Winter’s Ice). The use of appoggiatura in the words “Tränen” (tears), “Eise” (ice) and “Brust” (breast) highlight the intense perturbation of the young man.

Love gets mixed up with anger in “Erstarrung” (Numbness), and the proposed journey passes through the stations of annoyance-anger-pain-longing. Pain reigns and Kaufmann gives us to understand that the young traveler prefers to sing that pain because if he silences his suffering, who will talk to him about her? It is a way of seizing for himself, of owning, something that does not exist except in the wishes of his mind.
Schubert adopts Monteverdi in this cycle; his songs are the romantic reflection of the stile rappresentativo. “Der Lindenbaum” (The Linden Tree) may be the best expression of this, both because the declamatory style triumphs and because there is a dominant tone of remembrance. It is Helmut Deutsch’s piano that murmurs melancholy while Kaufmann comments “Du fändest Ruhe dort” (There you will find peace) and asks with his voice if it is possible to find happiness by reliving the past. The answer is “No”.

“Wasserflut” (Torrent) provides the contrast between the fluid vocal line and the restless piano. Helmut Deutsch, remarkable! There are beautiful ascending lines, made for the tenor’s lyricism, who finds a new climax in the word “Weh” (affliction). In “Auf dem Flusse” (On the river), he rebukes the “wild” (wilder) river that has become quiet and confusing when he asks “Mein Herz, in diesem Bache /Erkennst du nun dein Bild?” (Heart of mine, do you recognize your image in this stream?). “Rückblick” (Retrospect) shows the struggle between the lark and the nightingale —that once tormented Romeo and Juliet—, and here joy identifies itself with unreality. From the piano, Helmut Deutsch says that the dream will not happen; it is an “Irrlicht” (Will o’the wisp), title of the following song which tells us that “Every current finds its sea, / Every sorrow its tomb” (Jeder Strom wird’s Meer gewinnen, / Jedes Leiden auch sein Grab”.

There is weariness in “Rast” (Rest), where the piano once more begs for some hope until we get to “Frühlingstraum” (Dream of Springtime), with Kaufmann amid a dreamy meditation in which he sighs “Ich träumte von Lieb um Liebe” (I dreamt of love for love) just before “Einsamkeit” (Solitude) makes him become aware of the void. “Die Post” (The Post), with its implacable bar of silence after the first verse, confirms again the absence, a key to turn to for “Der greise Kopf” (The grey head), where the death wish is explicit: Wie weit noch bis zur Bahre! (How long now until the coffin!).

“Die Krähe” (The crow) represents evil omens and brings death mixed up with the young man’s obsession with fidelity, and “Letzte Hoffnung” (Last Hope) reverses the meaning because we know that there is nothing to hope for; that is why the leaves float on falling and that is why the voice rises through the staff to fall immediately one octave. In “Im Dorfe” (In the Village), the barking dogs are the conflicting forces that assail in life, and “Der stürmische Morgen” (The Stormy Morning) is the perfect climate for the young man’s feelings, whose heart is torn by the “Täuschung” (Deception).

“Der Wegweiser” (The Signpost) is the song that raises the unanswered whys, expressing something which seems to come from Jonas Kaufmann’s own soul, fully portrayed in the phrase “Ohne Ruh’ und suche Ruh” (Relentlessly seeking Rest). The tenor himself, the same as the young wanderer, chooses hidden paths that others do not follow. When he gets to “Das Wirtshaus” (The Inn), the signs indicate that all the rooms have been taken; death still does not want him. What beauty in his voice when he says “Bin matt zum Niedersinken / bin tödlich schwer verletzt” (I am weak enough to lie, deathly wounded). That is why “Mut !” (Courage) comes next, sudden —and final— joy bound with some courage and strength. A decision to commit suicide? It is likely: “Will kein Gott auf Erden sein, / sind wir selber Götter” (If there is no God on Earth, / we ourselves are gods!”).

We must behold the beauty of “Die Nebensonnen” (The Phantom Suns), maybe because we cannot explain what those “Drei Sonnen” (Three Suns) the traveler talks about, mean. The symbol here is a mystery and the tenor, in a final stupor, begs for that “darkness where I will be much better” (Im Dunkeln wird mir wohler sein). It is what precedes the “encounter” with “Der Leiermann” (The Hurdy-Gurdy Man), where Kaufmann dominates with his tenderness and confirms his decision to let himself be taken away: “Will you accompany my songs with your lyre?” (Willst zu meinen Liedern / deine Leier drehn?”).
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TOP 500 REVIEWERon 15 April 2014
Any singer contemplating "Winterreise" must ask himself, I imagine, what his particular vocal qualities might bring to a fresh rendering of this great cycle. Jonas Kaufmann, it turns out, has the sweetness, the attention to the text, the legato, the breath control, and the dynamic control of the best tenor versions (Schreier, Pregardien, and Protschka), but he also has what they do not -- the power of a Parsifal or Lohengrin -- and one wondered how he would deploy that power (or if he would) and to what expressive effect. Well, he deploys it wonderfully well, and he brings anew to the listener's attention parts of songs and details of phrasing that one had never heard brought to life in that way before. The bitterness of the singer has a bite of anger in Kaufmann's account that isn't quite matched in other versions, and he risks a rawness at the very end of "Der Leiermann" that gives an edge to the sentiment and self-pity. The power works wonders too with "Die Wetterfahne" and "Die Sturmische Morgen" that made these songs new to me. "Das Wirtshaus" too is totally involving. And yet, in those songs where Fischer-Dieskau and Schreier excel -- "Lindenbaum" and "Fruhlingstraum," for example -- Kaufmann too can break the heart with soft, long-breathed, tonally beautiful singing.

You really can't have too many good "Winterreisen." Baer, Hotter, and Goerne deserve mention too (sorry, Pears and Quasthoff fans). Helmut Deutsch is an alert partner here, now calming down the angry singer, and at other times seconding the outbursts. He's very well recorded, and Kaufmann's voice is well placed in relation to the piano. All in all, a very distinguished account, highly recommended.
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TOP 50 REVIEWERon 17 February 2014
This recording of the ultimate Schubert challenge for singers gives us a great performance by Jonas Kaufmann and Helmut Deutsch. You imagine the traveller awe-inspiringly haggard and drawn like an expressionist figure, and the rough, sombre edge to Kaufmann's voice emphasises the dark palette of the songs. They are like 24 pieces of a jigsaw that shows the very portrait of the soul of one rejected in love and disconsolate, and each piece fills out an aspect of despair, while bothering little with concrete details as a realist would want. Schubert is at his most ineffably sad, and sometimes fierce, both of which Kaufmann captures to perfection. He and Deutsch have apparently been playing the cycle for several years, and you feel this is music they have travelled with themselves. Rather than an essay the notes take the form of an interview with both of them, in which there is an interesting divergence in how they read the last song about the hurdy-gurdy man. The music itself is ambiguous and strange enough in this song to be read in a number of ways, so you can't feel quite sure of where the traveller is left ... I'm sure there are many other remarkable versions - I have most recently listened to Kurt Moll (very deep) and Barbara Hendricks (affecting, although presumably not quite the sound Schubert had in mind). Both are very good but I would say Kaufmann is totally outstanding, and I doubt whether many can match him for rough-hewn vocal timbre allied to refinement in the way he gets the intensity of the songs. It brings tears to the eyes, and not from the cold!
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on 21 March 2016
Excellent, amazing!
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on 24 February 2014
There has been for long quite a tradition that of the two W. Muller song cycles Winterreise and Die Schone Mullerin that the former was the `baritone's pet'. Apart from the fact that the song cycle premiered in a `baritone' version, the character and colouring of the cycle have much to commend it to baritone or baritonal voices.
Throughout the 20th century, most of the illustrious interpretors of this work were baritones rather than tenors: Hermann Prey, Dietrich Fischer-Dieskau, Hans Hotter, and if, in the rarer cases, sung by women, mezzo-sopranos and contraltos.
The 20th century lieder expert Erik Werba advocated that lieder be sung whatever key that suit the singers most. Transpositions are freely allowed. Inevitably, baritones gradually got a quasi-monopoly of this song cycle over tenors.
While there are a number of outstanding tenor interpretors of this cycle (C. Pregardien, W. Gura, P. Schreier, to name but three), they have been some what `shaded' behind the two great baritones; Prey and Fischer-Dieskau.
When tenor Jonas Kaufmann announced that he and his pianistic partner Helmut Deutsch will release this cycle, it really caused quite a stir in this relatively dwindling field of lieder. Those have their fingers crossed count upon the musical intelligence, vast experience and expertise of this couple in this genre, and most particularly, the timbre of Herr Kaufmann, which is an uniquely dark tenor voice with sufficient `bite' for this song cycle's deepest emotional demands, as amply proved in his operatic outings in Wagner.
Kaufmann sung Schubert as one of the mainstays in his repertoire (he has recorded Schubert operas as well as lieder), and he proves that he ranks among the very best interpretors of Schubert yet again in this recording of Winterreise. He and Deutsch set a beautiful pulse for the first part of the song cycle, a pulse stable yet never flaccid, expressive yet never dragging. The importance of this `pulse' can never be underestimated in this song cycle, depicting a lovelorn man drudging along the snowy path as he narrates his plight song after song: setting this beautiful pace already meant more than half the success. On top of this wonderful pace, the singer and the pianist are able to paint the different scenes with various sound pictures, some thing to which the listeners to this recording must gasp in awe and in utter unexpectedness.
Kaufmann infuses his keen sense of drama into the pieces with marvelous tone painting, some thing so ill-affordable by many other tenors who do not happen to own as luscious and rich a timbre as Kaufmann. Any possible trace of the `Sesame Kermit' sound of Kaufmann is totally absent here, and he sings in the most rounded and best resonated tone throughout. Kaufmann instills the most intricate of emotional nuances into the pieces that the listeners are left with nothing but utter awe.
Here, Deutsch matches Kaufmann point by point, in pieces like Ruckblick, Irrlicht, Rast, and many other instances, one senses that there are not two people performing but just one.
Of course, Sony is to be commended for putting up a most sensitive and alert acoustic system for this great performance. The dynamic ranges are exceptionally handled, as for instance in the Fruhlingstraum, where the whispering dreamy words as well as the passionate outbusts are fully captured in their widely diverging volume spectrum.
The singing of course gets more and more bleak and desperate as the cycle moves on. Kaufmann is truly expert in depicting such mental state with his dark and almost relentless sounding voice. If the audience has been mesmerized thus far, in the second half of the cycle, they are drawn into the protagonist's despair. In the very opening piece Die Post, Kaufmann's vehement questionings of his `heart' sets the mood vividly. The desolate piano introduction of Der greise Kopf tells the audience in no uncertain terms that the protagonist's love is doomed. Kaufmann bleaches his tone here to a bare sprechgesang, so much so that the ensuing piece Die Krahe is almost a premonition of death. Listen to Kaufmann's ultra-bitter `bald als Beute hier meinen Leib zu fassen?' here.
Such bitterness permeates the second part of the song cycle, with the dog barks in `Im Dorge', and fatal meandering in `Der Wegweiser' culminating in `Das Wirshaus', the destination of death for the protagonist.
The last three songs sound like the most poignant accusations of life by the protagonist with Kaufmann's soul-wrenching treatment. The last Der Leiermann simply float into the air.
What do we get in the 21st century lieder circle? Perhaps, Kaufmann and Deutsch have given the world the answer - the best Winterreise cycle ever.
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