C993423century after the end of his active career as a singer, nothing has changed concerning Dietrich Fischer-Dieskau’s preeminent status in the history of performing song. It is a above all the Lied performer Fischer-Dieskau who set standards that have remained valid far beyond his time. Vol. 2 of the Dietrich Fischer-Dieskau Lied-Editon provides an excellent example of Fischer-Dieskau’s consummate art of placing special emphasis on the poet’s text as the source for varied musical inspiration.
On CD1, Dietrich Fischer-Dieskau and Karl Engel undertake performing songs after texts by Goethe from five periods. Similarly, five years later, he and Wolfgang Sawallisch devote their programme at the Salzburg Festival to Joseph Eichendorff, by focusing on three composers who identified particularly strong with the Romantic poet (CD2). CD3 with songs after texts by poet Richard Dehmel provides evidence of Dietrich Fischer-Dieskau’s life-long interest in the scope of the repertoire. The CD set is completed by a programme that embraces “Songs of the Romantic era” by various composers of the 19th century (CD4).
Vol. 2 of the „Dietrich Fischer-Dieskau Lied-Edition“ provides an excellent example of Fischer-Dieskau’s consummate art of placing special emphasis on the poet’s texts as source for musical interpretation. 4 CD set.
ORFEO 2 CD C200023
When the ORFEO
C200023label was establishedinMunichfortyyearsago,surelynoonewiththemusicscenebackthen wouldhavepredictedthattherecord companywoulddevelopintoafirmly establishedplayerontheclassicalmusic market. One of the label’s main priorities in the early years was vocal music, with opera rarities top of the list and since the mid 1980s the re-use of historic tape recordings. Big names featured on the label’s own productions, while ORFEO also developed into a talent factory by discovering and nurturing young artist.
This “ORFEO 40th Anniversary” 2CD sampler well reflects these two sides of the label by combining highlight tracks of historical recordings with today’s global stars.
40 ultimate tracks selected from the 40 years long history of ORFEO label
CD1: 20 tracks “Soloists and Conductors”
CD2: 20 tracks “Legendary Voices”
ORFEO 10 CD C200011
When the ORFEO label was established in
C200011Munich forty years ago, surely no one with the music scene back then would have predicted that the record company would develop into a firmly established player on the classical music market. One of the label’s main priorities in the early years was vocal music, with opera rarities top of the list and since the mid 1980s the re-use of historic tape recordings. Big names featured on the label’s own productions, while ORFEO also developed into a talent factory by discovering and nurturing young artist.
This “Legendary Conductors” 10 CD box set for the anniversary of 40 years of ORFEO label history presents a selection of outstanding recordings with legendary conductors in the true sense of the word.
10 CDs box set. Includes outstandining historical recordings with legendary conductors, such as Karl Böhm, Wolfgang Sawallisch, Carlos Kleiber, Dimitri Mitropoulos, Hans Knappertsbusch, Otto Klemperer, Ferenc Fricsay, Herbert von Karajan, Sergiu Celibidache, Sir John Barbirolli, Wilhelm Furtwängler.
ORFEO 1 CD C 998 201
A voice from another world
C 998 201male soprano Samuel Mariño (*1993) presents his debut album with baroque arias by Christoph Willibald Gluck and Georg Friedrich Händel.
Gluck and Händel met each other and played music together in London in 1746. For this CD, the original program of that concert was expanded with arias tailor-made for male soprano.
“This CD is unique in every respect. It includes first recordings of works that are sensationally beautiful and that have never been heard before. And then there is a voice, a male soprano, singing for the first time in 250 years things that no man before him was able to sing. I think that this voice is suitable and has the ability to make us hear and feel the beauty of this sound and the very special art of the 18th century.” – Michael Hofstetter
“Gluck and Händel, these are my two masters. They are so important composers to me, and they have made a concert together in London. I’d say it is a wonderful idea to remake this program.” – Samuel Mariño
Samuel Mariño has already appeared as soloist on European stages. In 2017/18, he won the interpretation award at the International Singing Competition in the Opera de Marseille and the audience price at the competition “Neue Stimmen” in Gütersloh. In 2018, he held his opera debut at the Handel Festival in Halle in the opera Berenice, singing the role of Alessandro where he had an incredible success being several times named for the position of “Best revelation artist” by the Magazine Opernwelt. He will also appear in this year’s Händel Festspiele 2020 as Teseo in the opera of the same name.
Stimme aus einer anderen Welt
Der in Venezuela geborene Sopran-Sänger Samuel Mariño (*1993) präsentiert sein Debut-Album mit Barock-Arien von Christoph Willibald Gluck und Georg Friedrich Händel.
Gluck und Händel trafen 1746 in London aufeinander und musizierten. Für die vorliegende CD wurde das Originalprogramm des Konzerts mit Arien ergänzt, die für männlichen Sopran maßgeschneidert wurden.
„Diese CD ist in jeder Hinsicht singulär. Sie beinhaltet Ersteinspielungen von Werken, die sensationell schön sind, und die man noch nie gehört hat. Und es ist einfach eine Stimme, dieser männliche Sopran, der zum ersten Mal Sachen singt seit 250 Jahren, die vor ihm kein Mann singen konnte. Ich glaube diese Stimme ist dazu angetan und hat die Fähigkeit, uns auch in diese Klangschönheit, in diese ganz spezielle Kunst des 18. Jahrhunderts hineinhören und hineinspüren zu lassen.“ – Michael Hofstetter
„Gluck und Händel sind meine beiden Meister, diese Komponisten sind so wichtig für mich. Und sie haben zusammen in London ein Konzert abgehalten. Es ist eine wundervolle Idee, dieses Programm zu wiederholen.“ - Samuel Mariño
In Europa ist Samuel Mariño bereits vielfach als Solist in Erscheinung getreten. Im Juni 2017 hat er den Preis für Interpretation beim internationalen Gesangswettbewerb der Opera de Marseille gewonnen; in Deutschland wurde er im gleichen Jahr mit dem Publikumspreis des Wettbewerbs „Neue Stimmen“ ausgezeichnet. 2018 hielt er sein Operndebut bei den Händel-Festspielen Halle als Alessandro in der Oper Berenice ab, wo sein überwältigender Erfolg dazu führte, dass ihn die Zeitschrift Opernwelt mehrmals zum ‚Besten Nachwuchskünstler‘ ernannte. Auch bei den diesjährigen Händel-Festspielen 2020 ist er als Teseo in der gleichnamigen Oper wieder in Halle zu erleben.
- Debutalbum des venezuelischen männlichen Soprans Samuel Mariño
- Album mit Barock-Arien von Gluck und Händel
- Mit Arien, die seit 250 Jahren kein Mann singen konnte
- Das Händelfestspielorchester musiziert auf historischen Instrumenten
- Dirigent Michael Hofstetter ist ein weltbekannter Spezialist für historische Aufführungspraxis
ORFEO 5 CD C 992 205
Even a quarter of a
C 992 205century after the end of his active career as a singer, nothing has changed concerning Dietrich Fischer-Dieskau’s preeminent status in the history of performing song. It is a above all the Lied performer Fischer-Dieskau who set standards that have remained valid far beyond his time. This compilation from very different song worlds offers striking examples of this.
Vol. 1 of the “Dietrich Fischer-Dieskau Lied-Edition” presents Lieder by two almost forgotten song composers – Carl Friedrich Zelter (CD1) and Johann Friedrich Reichardt (CD2), who owe their significance not least to their affinity to Goethe, as well as a selection of songs by Lous Spohr (CD3), who is more familiar as the composer of instrumental concertos and chamber music, and by Hans Pfitzner (CD5), who takes us into a later period. Hugo Wolf’s last and perhaps most popular cycle, the Italienisches Liederbuch, was an unparalleled recital experience at the Mozarteum in Salzburg in 1958 (CD4). Studio recordings with other partners did not find the same spontaneity and brio as in that live recording with Irmgard Seefried and Erik Werba.
ORFEO 3 CD C 991 203
Not many maste
C 991 203rpieces have premiered at the Vienna State Opera. Die Frau ohne Schatten – the fourth collaboration between Richard Strauss and Hugo von Hofmannsthal – make one of the few exceptions.
On the evening of 25 May 2019 – the 150th anniversary of the opening of the Vienna State Opera – a star-studded festival première of Richard Strauss’ Die Frau ohne Schatten took place at Vienna State Opera. Together with his librettist Hugo von Hofmannsthal, Strauss, at the time director of the opera house, developed a fairytale, complex and psychologically discriminating work that received its world première a hundred years ago, on 10 October 1919 at the opera house on the Ring. Since then, Die Frau ohne Schatten has enjoyed a rich performance history and is regarded as a special highlight of Viennese and international music theatre.
Live capture of festival première on 25 May 2019, the 150th anniversary of Vienna State Opera. Die Frau ohne Schatten premiered on 10 October 1919 at the opera house on the Ring. Follow up release to 150 Years Wiener Staatsoper - The Anniversary Edition (C980120)
Link to opera premiere: https://www.wiener-staatsoper.at/en/season-tickets/detail/event/961284094-die-frau-ohne-schatten/
ORFEO 1 CD C 999 201
Historical recording from 1985. Michael Gielen ( †8 March, 2019) conducts the ORF Vienna Radio Symphony Orchestra.
Missa solemnis was
C 999 201Beethoven’s response to the appointment of his student Archduke Rudolph (youngest brother of Emperor Franz I of Austria) as Archbishop of Olmütz in 1819. He set to work spontaneously, without a direct commission. He planned for the piece to be completed on the occasion of Rudolph’s enthronement, on 19 March 1820, but the work proved to be much more of a challenge for the composer than he had anticipated. Accordingly, the premiere did not take place for another four years, on 7 April 1824, at a charity concert given by the Philharmonic Society of St Petersburg.
Missa solemnis still faces challenges today. This extraordinary work does not appear in the concert repertoire as often as it used to some years ago. “The world of shareholder values doesn’t care for Christ”, as Michael Gielen said. He believed that this is one reason for the difficulties the work seems to cause audiences today.
Michael Gielen, who passed away in March 2019, can be heard in this historic recording from 1985 with the ORF Vienna Radio Symphony Orchestra.
ORFEO 1 CD C 995 201
Sharon Kam presents three
C 995 201clarinet concertos of the early Romantic era. Among them a new interpretation of Weber’s concerto, more “Rossini-like”. The Weber and the Crusell concerto were both composed in 1811.
Sharon Kam, one of the world’s leading clarinetists, continues her collaboration with ORFEO with a new album featuring romantic clarinet concertos by three composers.
“After 20 years of recording the Weber concerto with Kurt Masur, I see and feel this piece very differently. I now try to play it more lightly, more ‘Rossini-like’, than the heavier romantic approach I previously adopted”, she explains.
Together with Bernhard Henrik Crusell’s concerto (composed in the same year - 1811 - as Weber’s) and that by the Polish composer Karol Kurpiński, (which still remains unknown), this album is a diverse survey of early Romantic-era clarinet concertos.
ORFEO 2 CD C 990 202
Following Chopin’s Études and
C 990 202Schubert’s 8 Impromptus, Amir Katz now presents an all-Liszt programme on his fifth album for ORFEO. The booklet is written by Amir Katz and contains transcriptions of testimonies of Liszt’s students.
Liszt’s Études represent a peak in the history of piano writing. Beyond the tremendous technical difficulties, Liszt’s Études are poetic works, études tableaux, suggesting programme music influenced by literature, painting, and folklore as can be identified by titles such as Mazeppa, Wilde Jagd, Gnomenreigen and Feux follets. Similar to Schumann, Liszt added those lyrical headings as an afterthought to stimulate the fantasy of both the listener and the performer, thus paving the path to piano playing as we know it today.
“I have chosen to bring here authentic testimonies regarding the Études from the late masterclasses he gave in Weimar, Pest, and Rome in the early 1880s, just a few years before his death in 1886. The testimonies are given by his students Carl Lachmund, August Göllerich, Vianna da Motta and Arthur Friedheim. These precious testimonies provide us with an original and inspired illustration that faithfully represents Liszt’s masterclasses and his artistic calling.” – Amir Katz
ORFEO 1 CD C 989 201
Leoš Janá ek (1854–1928) composed the
C 989 201song cycle The Diary Of One Who Disappeared at a time when many people already considered him on a par with the other two masters of Czech national music, Smetana and Dvo ák. The inspiration for the autobiographical Diary came from a few enigmatic lines of poetry in two editions of the Lidove noviny (People’s Newspaper) published in May 1916.
Although this work is Janá ek’s most important original song cycle, his keen interest in the folk songs and dances of his Moravian homeland resulted in a plethora of arrangements, making this music accessible also for the classical concert hall. These include the Six folksongs sung by Eva Gabel (Šest národních písní jež zpívala Gabel Eva) and the Songs from Detva (Písneˇ detvanské). Quite unlike the songs of the Diary, which chiefly make reference to the Moravian dialect, the arrangements evince the typically ethnic-sounding music that Janá ek refined, so to speak, by adding a sophisticated piano part to adaptations of the existing melody lines, reflecting the tradition of the great song compositions of the 19th century.
Having explored songs by Mozart and Schubert on previous acclaimed albums, Slovak tenor Pavol Breslik now presents works by Czech composer Leoš Janá ek in his fourth album for ORFEO.
ORFEO 2 CD MP 1903
While Ludwig van Beethoven’s only
MP 1903opera Fidelio remains at home timelessly on all the major stages, concert audiences are usually only aware of the relevant overtures of the other stage music by the great composer. However, the eminently appealing music of Egmont with its beautiful and catchy songs and its energetic and melodious orchestral scores might be considered as Beethoven’s most interesting and worthwhile stage music after Fidelio.
Antonín Reicha’s dramatic cantata Lenore is the musical setting of the eponymous horror ballade by the German poet Gottfried August Bürger, famous today above all as the author of the tales concerning the Baron of the Lies, Münchhausen. In comparison with Beethoven (who is said greatly to have admired Reicha’s Lenore and even to have recommended it be performed), in musical terms Reicha’s cantata does not point into the future despite all its onomatopoetic effects, but takes its bearings audibly from the epic oratorio style of Reicha’s mentor and friend, Joseph Haydn.
ORFEO 2 CD C 986 192
Daniel François-Esprit Auber (1782–1871)
C 986 192was the most amiable French composer of the 19th century. His sparkling and beautiful overtures were once universally as famous as those of Rossini and Suppé. The greatest turning point in Auber’s life was meeting the librettist Eugène Scribe (1791–1861), with whom he developed a long and hugely successful working partnership. Success followed success; works such as Le Maçon (1825) and La Muette de Portici (1828) brought Auber public fame and official recognition.
Le Cheval de bronze, an opéra-féerique in three acts, derived from the tale Les Sept Fils du Calender (‘The Arabian Nights’), unfolds in Shantung province in a fairy tale China of long ago. The magical Bronze Horse of the title, appearing mysteriously on a nearby hill, will transport any man who climbs onto its back to the planet Venus, home to group of female sirens, led by the lovely Princess Stella. If the traveler in space can resist the sirens’ advances, he can return to earth with the lady of his choice; if not, he is whisked back alone, and turned to stone if he speaks of his experiences…
Chormusik & Oratorien
Edition zeitgenössisches Lied
Symphonie & Konzert