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Wintereise Import

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Détails sur le produit

  • CD (4 mai 1999)
  • Nombre de disques: 1
  • Format : Import
  • Label: Mis
  • ASIN : B00000IOC7
  • Moyenne des commentaires client : 5.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
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3 internautes sur 4 ont trouvé ce commentaire utile  Par Philippe JEAN le 16 septembre 2009
Format: CD
Une de ces grandes interprétations qui marquent une oeuvre à jamais, comme Schwarzkopf dans l'Elvire de Don Giovanni ou les 4 derniers lieder de Strauss, comme Ferrier dans le Chant de la terre, comme Deller dans "Music for a while " de Purcell, comme Callas dans Traviata ou Tosca,comme Flagstadt dans Isolde ... comme Hotter dans Wotan.
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Amazon.com: 6 commentaires
30 internautes sur 30 ont trouvé ce commentaire utile 
The greatest performer of Winterreise 2 août 2000
Par Un client - Publié sur Amazon.com
Format: CD
Winterreise is probably the peak of Schubert's production of lieds. Based on Müller's cycle of poems, Winterreise is an inner journey through solitude and death. Where will the wanderer be able to rest? He seems doomed and even death will not accept him in one of the lieder. Schubert wrote this music for Johann Michael Vogl, a liric baritone, but the cicle has been song for many kinds of voice: tenors like Patzak and Pears, basses like Talvela and the unforgetable Greindl ( the blakest of all), the great soprano Lotte Lehmann or the famous baritone Fischer Dieskau, for many the best performer of this music. At least for my taste Dieskau is impressive but overnuanced ( just like Anders ' perfomarce is overdramatical). The first time i heard this cd, about a year ago, i was blown up. What a voice! What an extraordinary spiritual unity! Hotter takes a very interesting point of view when he performs the wanderer. He is not the wanderer who suffer but a third who feels compassion for him. Like God who feels compassion of the sinner. And you can feel this compassion everywhere on this cd. For me, Hotter, Dieskau, Pears, Greindl and Patzak are the references in Winterreise
29 internautes sur 30 ont trouvé ce commentaire utile 
phenomenal is the word 19 septembre 2003
Par Rosomax - Publié sur Amazon.com
Format: CD
While most of us have gotten used to hear Die Winterreise performed by lyric baritones such as Dietrich Fischer-Dieskau or more recently Thomas Hampson, the reading of bass Hans Hotter will undoubtedly send chills down your spine.
What leaves a lasting impression is how much Hotter cares for the music. His bass voice was one of the darker ones, but he lightens it considerably on many selections, unless required by Schubert to convey defiance. Interestingly, perhaps due to a fact that bass voices are often associated with priests, it does appear as he is relating a narrative (as monk Pimen in Boris Godunov). There's no pain in his rendition, just sadness where appropriate. Fischer-Dieskau with his tenorial sound and Wunderlich a true lyric tenor, as well as several famous sopranos, have chosen to depict the suffering of a poet as he wanders through gloomy landscape. Hotter's voice is so consoling and calming, that any person who had suffered a broken heart would actually feel its healing power.
Hotter's diction is impeccable, every word is crisp and clear, none of the vowels are covered. Gerald Moore, the undisputed king of lieder accompaniment has great rapport with the singer. They consistently support each other, as though having a night time dialogue in an abandoned church. He allows Hotter plenty of time to make a point and responds ably on faster more fiery selections.
There's nothing but praise that could be said about this CD. A must for any lieder fan.
23 internautes sur 25 ont trouvé ce commentaire utile 
One of the greatest song cycles ever written sung by one its greatest interpreters 9 novembre 2005
Par Craig Matteson - Publié sur Amazon.com
Format: CD
"Winterreise" (Winter Journey) uses the texts of twenty-four poems by Wilhelm Müller, a minor German poet who is fortunate to be remembered for Schubert's setting of these poems and those of "Die schöne Müllerin". Schubert discovered the poems at different times and composed the first twelve in early 1827 and the second twelve later in that year. The order of the songs is not the order that Müller gave them, nor did Schubert reorder them after the set was finished. However, there has been a debate ever since about performance order and some singers do sing them in the poet's order rather than Schubert's deeming the composer's rather arbitrary. However, sung by a voice of the quality of Hans Hotter, the printed order is very effective and sounds wonderfully well.

Adding to the confusion in trying to arrive at a definitive version are the changes and corrections Schubert made while preparing a final copy for the printer. His original submission was illegible and was leading to many mistakes, so he had to redo the score and in the process made changes. These alternate versions are noted in the thematic catalog and require the singer to make a choice. Do you want to sing what Schubert and Vogl sang before the songs were printer or the composers final version? And are you sure of either choice being what you really think it is?

Composing these songs was especially important to Schubert. He arrived very late to a party his friends were throwing for him much to their surprise and consternation. One of his friends thought the composing of these songs took so much from Schubert that the effort led to his early death in 1829. This is not true, because these last few years were remarkably productive and included works of great energy, but it gives you a sense how seriously these songs were taken by those who new the composer. Schubert's art during his last years was not all darkness and ice, regardless of how compelling and complete that aesthetic is in these songs.

The cycle opens with these words of the poem "Goodnight" (in translation):
A stranger I arrived here,
A stranger I go hence.
Maytime was good to me
With many a bunch of flowers.
The girl spoke of love
Her mother even of marriage.
Now the world is dismal,
The path veiled in snow.

From the first that his friends heard Schubert sing the first twelve songs, they liked "The Lime-tree":

By the well at the town gate / there stands a lime tree;/ in its shadow I have dreamed / full many a sweet dream.

On its bark I have carved / full many a loving word. / IN joy and sorrow it drew / me to it again and again.

Just now my journey took me / past it at the dead of night, / and even in the darkness / I had to close my eyes.

And its branches rustled / as if they were calling to me: / "Comer here to me, lad, / here you will find your rest"!

The chill winds blew / straight in my face: / my hat flew off my head. / I did not turn back.

Now I am many hours / distant from that place; / yet still I hear the rustling: / "There you would have found rest".

To perform these songs without break would take about seventy-five minutes, in a recital with a short intermission it is about an hour and a half. To pull this off dramatically requires a very able singer who can communicate with his audience very intimately. He also has to find a way to vary the telling enough to keep the mood from being unrelieved bleakness.

Hans Hotter was born in 1909 and died just recently, in 2003. He had a long and remarkable career and was especially associated with the role of Wagner's Wotan. He first sang that role in Munich in 1937 and was associated with the Wagner shrine, Bayreuth 1952 - 64. This is important because Schubert is usually associated with lyric, not Wagnerian, Baritones. Yet Hotter, an historically great Wagnerian, was also known for his solo recitals and Schubert's "Winterreise" was one of his specialties. This wonderful recording is him singing this work in his prime.

There is a special timbre to his voice that remains expressive no matter how quietly he sings and keeps its rich darkness. His range of expression in these works is amazingly broad and deep. There is an immediacy that draws you into feeling as if you were the poet and these were your words and your music. This is a great recording and you owe it to yourself to get to know it.

As always in Schubert, the pianist is as important as the singer because Schubert put so much of the poetic expression in the piano. For example, his friends commented on the unique way Schubert expressed the moving branches talked about in "The Lime-tree". Gerald Moore is a fabulous pianist who supports Hotter perfectly. As in all great Schubert performances, the singer and pianist are partners making a single piece of music rather than a soloist - accompanist.

Get and enjoy this disk and you will be in even greater awe of Schubert and grateful to these artists for sharing him with you.
5 internautes sur 5 ont trouvé ce commentaire utile 
A revelation (in the best sense of the word)! 3 décembre 2008
Par Alexander Z. Damyanovich - Publié sur Amazon.com
Format: CD Achat vérifié
On hearing the recording today, I can say that if Dietrich Fischer-Dieskau is thought of as having set the standard for Winterreise interpretations (with people like Peter Pears, Brigitte Fassbaender and Peter Schreier among others being thought of as building upon what Fischer-Dieskau had done), such a thought is absolutely wrong from the outset - and the late Hans Hotter (together with Gerald Moore, as quintessentially great a partner - not merely an accompanist! - as ever could be) proves it!!

In fact, if he (Hotter - and also Lotte Lehmann!) was among the pioneers for Schubert's lieder-cycles coming into favour with artists and audiences (as the booklet seemed to imply to me), he already had as much unlocked from these songs as any major artists whosoever could hope to do! Everything about the way these songs are rendered is done with top-notch artistry. The interpretations are well beyond just 100% convincing, the occasional rubato well within the limits of late-classical-era good taste, the technical aspects (for either artist) not even being a concern!

Absolutely recommended without any reservations whatsoever!!!
4 internautes sur 4 ont trouvé ce commentaire utile 
another indispensable recording, haunted and haunting 19 novembre 2012
Par Stanley Crowe - Publié sur Amazon.com
Format: CD
I have reviewed very positively two recordings of Schubert's Winterreise by baritones -- the Fischer-Dieskau/Demus on DGG from about 1965, and the Olaf Baer/ Parsons recording on EMI from about 1989. Both are superb (I was less impressed by the RCA Quasthoff/Spencer recording). Hotter recorded this version for EMI in 1955, and it is quite different from the lighter baritone versions of Baer and Fischer-Dieskau. For one thing, Hotter is much closer to being a bass than the other two, and his low singing in these songs is solid and chilling. Clearly too, he's scaling down a larger voice than the others possessed, and doing so in a way that is both impressive (technically) and expressively effective in these songs. The voice is beautiful on its own terms, and only in forceful moments in the upper part of his range is there a loosening in the tone -- something much more pronounced 8-10 years later in the recordings of Wotan's music in the Decca/Solti Ring cycle. Otherwise the singing is secure, with an attention to legato phrasing and subtle rubato rather than word-pointing as a way to create appropriate expression. The stance taken by Hotter towards these songs seems to be that of a lover disappointed long ago but still haunted by loss -- the sense of more recent loss, with anger and pain more immediate, that we find in Fischer-Dieskau's version and even more in Baer's, is not as immediately present. One gets the impression of a lover who has been unable, as he aged, to put behind him the sense of betrayal and desolation. There's a haunted, empty quality to the voice, as of a singer leading a posthumous existence, in Keats's phrase -- his real life, or what ought to have been his real life, isn't so much passed as it never happened, like a ghost who has no real life to remember except that moment of parting with the moon-shadows his only companion, as related in the first song (a moment that is unforgettably voiced by Fischer-Dieskau). The "Lindenbaum" is memorably bleak and beautiful, and the more uptempo songs -- parts of "Fruhlingstraum" and "Die Post" -- bespeak a sense of the loss of energy of the speaker, as increasingly in his haunted mind the ideas of winter and aging progressively preoccupy him and lead to almost hallucinatory visitations. By the end, unlike Baer, he isn't a young man confronting with surprise the idea of his similarity to the Leiermann -- Hotter sings almost as a contemporary, a doppelganger even, of the old man. The most heartbreaking moment for me in that final song isn't the "Wunderlicher Alter" -- it's the singer's registration that the old man's plate for donations is "immer lehr" -- always empty. That sums up the singer's whole predicament as Hotter presents it. What a great performance.
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