Richard STRAUSS(1864 - 1949) Lieder Ständchen, Op. 17 No. 2 [2:21] Herr Lenz, Op. 37 No. 5 [1:11] Ich liebe dich, Op. 37 No. 2 [1:58] Freundliche Vision, Op. 48 No. 1 [2:47]
Vier Lieder, Op. 27 Ruhe, meine Seele, Op. 27 No. 1 [3:26] Cäcilie, Op. 27 No. 2 [1:59] Heimliche Aufforderung, Op. 27 No 3 [3:09] Morgen, Op. 27 No. 4 [3:21]
Lieder Op. 10 nach Hermann von Gilm zu Rosenegg Zueignung, Op. 10 No. 1 [1:29] Nichts, Op. 10 No. 2 [1:24] Die Nacht, Op. 10 No. 3 [2:53] Die Georgine, Op. 10 No. 4 [3:29] Geduld, Op. 10 No. 5 [4:19] Die Verschwiegenden, Op. 10 No. 6 [1:00] Die Zeitlose, Op. 10 No. 7 [1:33] Allerseelen, Op. 10 No. 8 [2:49]
Sechs Lieder op. 19 nach Adolf Friedrich von Schack Wozu noch, Mädchen, soll es frommen, Op. 19 No.
1 [1:41] Breit’ über mein Haupt, Op. 19 No. 2 [1:27]
Schön sind, doch kalt die Himmelssterne, Op. 19
No. 3 [1:56] Wie sollten wir geheim sie halte, Op. 19 No. 4 [1:28]
Hoffen und wieder verzagen, Op. 19 No. 5 [3:02] Mein Herz ist stumm, mein Herz ist kalt, Op. 19 No. 6
[3:16] Befreit, Op. 39 No. 4 [5:13]
Daniel Behle (tenor), Oliver Schnyder (piano)
rec. Radiostudio, Zürich, 13-15 September 2010, 3 April
Sung texts enclosed but no translations
CAPRICCIO C5110 [57:48]
I first heard the young German tenor Daniel Behle almost to
the day when writing this four years ago as Prince Ramiro in
Rossini’s La Cenerentola in Stockholm. I described
his voice as ‘mellifluous, agile, beautiful, technically
spotless and with enough heft to make his top notes ring out’
(see full review here).
A year later I reviewed his debut CD, a mixed song programme,
in glowing terms (review),
and the next year, 2010, his Die schöne Müllerin
was my Recording of the Month (review).
Since then he has also issued Schumann’s Dichterliebe
which I have yet to hear, but if the present Strauss disc is
anything to go by, that recording should also merit the same
verdict. This is, without doubt, one of the best Strauss discs
that I have heard - and I have more than a few in my collection.
My description of his singing four years ago is still valid
but since then he has gained power and expression and his handling
of the texts is excellent. All these virtues are present in
Ich liebe dich (tr. 3) and Freundliche Vision
(tr. 4) displays to perfection his seamless legato and the extreme
beauty of his voice.
These first four songs from various opus groups is a kind of
a first course to whet the appetite for the three main courses
that follow, three complete groups. The four Op. 27 examples
are all well known and often performed, but not always as a
group. They certainly complement each other wonderfully and
in Behle’s readings these gems glitter even more enticingly
than usual. The concluding Morgen, inward and soft, is
The eight Op. 10 songs are especially valuable to have as a
complete sequence since a couple of them are not that frequently
heard. Zueignung is so powerfully and gloriously sung
that one believes that in a couple of years he will take on
spinto repertoire. Not that I would recommend him to
rush into heavier roles but the potential is there. I listened
with great pleasure to Nichts, sung with such excellent
diction that you didn’t need the printed text. I admired
his superb control of all the nuances. His breath control in
Die Nacht. Allerseelen, a long-time favourite of mine,
is sung with great simplicity, almost casually - but immensely
The Op. 19 songs are even more rarely heard - and well worth
hearing. Then, when we are served the dessert, Befreit
is the perfect choice, not too sweet but with a taste that remains
long after the last chord has died away.
The whole recital is so beautifully sung that it is quite possible
to enjoy it just for the youthful, healthy vocalism without
bothering about the interpretation of individual songs. This
is where real greatness is to be found. Each of the songs stands
out as a masterpiece. I felt more than once that I was hearing
a well known song for the first time. So fresh, so immediate
is the approach.
Daniel Behle is a marvellously gifted Lieder singer and the
rapport between him and his admirable pianist is breathtaking.
Those who have bought one or more of his earlier recitals will
need no persuasion to add this one. Those who haven’t
should rectify that obvious lack in their collection without
delay. This is my Recording of the Month. Without doubt it will
be one of my Recordings of the Year when we reach December.
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