Mahler's "Kindertotenlieder" are among the most heartrending songs, and Fischer-Dieskau, with his warm, beautiful voice, expresses every word and meaning softly, and with the most subtle differentiation (just listen to "der Tag ist schön, o sei nicht bang, sie machen nur einen weiten Gang", beginning at 15:08) . Absolutely perfect! Thank you!
My parents gave this record to me for my 14th birthday. I memorized it. I swore, I would meet Dietrich. I got to Germany in 1968 when I was 17 years old and went to the opera house day after day that summer, leaving messages to him. He finally granted a meeting and we got along great so he promised to visit my mother in Arizona on our ranch there and he did! When he toured the US, he visited my parents! They were so happy. What got him to join me was, he was singing in 'Gotterdammerung' in Munich in the lovely opera house there and when it ended, I was in the Fremden Balcony with an armful of roses. I threw them, one by one, to his feet as he took curtain calls. He looked up and said, 'Enough! Come to the dressing room and give me the roses!' So I was escorted there by the staff. He was a very delightful man, by the way as well as one of the finest German tenors, ever.
Dear Mr . Dukakis, Thanks for sharing the great event in your life about Maestro Dietrich Fischer- Dieskau. I heard him for the first time in 1990s when I was a student of German in Bombay at Goethe Institute. In the library, I encountered his serious voice when I heard " kindertotenlieder " for the first time. It' was my first access to Mahler lieder as I had fallen in love and was obsessed with his music. Truly a great singer & an artist of highest calibre.
I've read that Mahler preferred a baritone in this cycle rather than a female voice. I wouldn't want to be without performances by Ludwig and Baker, but I prefer the baritone in this music too.
Gustav Mahler:Gyermekgyászdalok 1.Víg a nap, ahogy ragyogva kél 00:00 2.Már látom jól, miért sugároztatok sötét lángot 05:13 3.Mikor jó anyád jő ajtómon át 10:01 4.Gyakran hiszem, épp csak kimentek 14:36 5.Ily vad vihar, ha bomolt odakinn 17:42 Dietrich Fischer-Dieskau-bariton Berlini Filharmonikus Zenekar Vezényel:Rudolf Kempe
Wie schaffen das eigentlich die Englischsprachigen so viel Sympathie für die deutsche Sprache zu entwickeln, die für Fischer Diskau als Instrument noch mehr Gewicht hatte als dieTöne, die 'nur' unterstützend waren. Ganz im Sinne von Goethe, z. B.
...for me, while his voice may lack the sensuous beauty of the great female interpreters of these most moving of songs, few invest the text with such devastating depth of feeling.
He transposed the Voice of the Composer: Gustav Mahler. Most agree he embodied this song cycle to an astonishing degree of sympathy and pain. The pain of Mahler's music, music that was verboten by Hitler because Mahler was Jewish...so many depths of pain surround this music including Dieter's near death during WWII.
Christa Ludwig , Elizabeth Schwarzkopf, tank you very much so beautiful peace from Gustave Malher , merci beaucoup " la jeune fille et la mort ou la mort de la jeune fille ?
I actually got to see Schwarzkopf and Dieter both on the same stage, he singing Siegfried and she, Brunhilda! They were MAGNIFICENT. 1968, Munich, Germany.
This recorded performance is absolutely shattering. Fischer-Dieskau captures the voice of a grieving father perfectly.
Mahler's "Kindertotenlieder" are among the most heartrending songs, and Fischer-Dieskau, with his warm, beautiful voice, expresses every word and meaning softly, and with the most subtle differentiation (just listen to "der Tag ist schön, o sei nicht bang, sie machen nur einen weiten Gang", beginning at 15:08) . Absolutely perfect! Thank you!
Nearly Full in love with his voice ! such ....beyond the words. Thank you !
Wunderbar
My parents gave this record to me for my 14th birthday. I memorized it. I swore, I would meet Dietrich. I got to Germany in 1968 when I was 17 years old and went to the opera house day after day that summer, leaving messages to him. He finally granted a meeting and we got along great so he promised to visit my mother in Arizona on our ranch there and he did! When he toured the US, he visited my parents! They were so happy.
What got him to join me was, he was singing in 'Gotterdammerung' in Munich in the lovely opera house there and when it ended, I was in the Fremden Balcony with an armful of roses. I threw them, one by one, to his feet as he took curtain calls. He looked up and said, 'Enough! Come to the dressing room and give me the roses!' So I was escorted there by the staff. He was a very delightful man, by the way as well as one of the finest German tenors, ever.
He was a baritone, not a tenor. And although he sang Gunther in a recording of Götterdämmerund,' he never performed it on stage.
*Götterdämmerung
Dear Mr . Dukakis,
Thanks for sharing the great event in your life about Maestro Dietrich Fischer- Dieskau.
I heard him for the first time in 1990s when I was a student of German in Bombay at Goethe Institute.
In the library, I encountered his serious voice when I heard " kindertotenlieder " for the first time. It' was my first access to Mahler lieder as I had fallen in love and was obsessed with his music.
Truly a great singer & an artist of highest calibre.
Real story or fantasy?
I've read that Mahler preferred a baritone in this cycle rather than a female voice. I wouldn't want to be without performances by Ludwig and Baker, but I prefer the baritone in this music too.
Gustav Mahler:Gyermekgyászdalok
1.Víg a nap, ahogy ragyogva kél 00:00
2.Már látom jól, miért sugároztatok sötét lángot 05:13
3.Mikor jó anyád jő ajtómon át 10:01
4.Gyakran hiszem, épp csak kimentek 14:36
5.Ily vad vihar, ha bomolt odakinn 17:42
Dietrich Fischer-Dieskau-bariton
Berlini Filharmonikus Zenekar
Vezényel:Rudolf Kempe
Wie schaffen das eigentlich die Englischsprachigen so viel Sympathie für die deutsche Sprache zu entwickeln, die für Fischer Diskau als Instrument noch mehr Gewicht hatte als dieTöne, die 'nur' unterstützend waren. Ganz im Sinne von Goethe, z. B.
Nevjerojatna izvedba! Sve drugo nakon ovoga je glupo slušati
...for me, while his voice may lack the sensuous beauty of the great female interpreters of these most moving of songs, few invest the text with such devastating depth of feeling.
He transposed the Voice of the Composer: Gustav Mahler. Most agree he embodied this song cycle to an astonishing degree of sympathy and pain. The pain of Mahler's music, music that was verboten by Hitler because Mahler was Jewish...so many depths of pain surround this music including Dieter's near death during WWII.
Christa Ludwig , Elizabeth Schwarzkopf, tank you very much so beautiful peace from Gustave Malher , merci beaucoup " la jeune fille et la mort ou la mort de la jeune fille ?
Les chansons de la fille morte.
I actually got to see Schwarzkopf and Dieter both on the same stage, he singing Siegfried and she, Brunhilda! They were MAGNIFICENT. 1968, Munich, Germany.
Sehr traurig und auf regung
....almost unbearably moving...