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Diana Damrau & Helmut Deutsch

Diana Damrau & Helmut Deutsch

Jiyang Chen the BarbicanCentre principal funderof is thefounder and Corporation The Cityof

Part of Barbican Presents 2018–19 Part of DianaDamrau singsStrauss Programme produced by HarrietSmith;printed Cäcilie, Op27No2 Wiegenlied, Op41 No1 Das Rosenband, Op36No1 3 LiederderOphelia,Op67 Mädchenblumen, Op22 Ständchen, Op17 No2 Meinem Kinde,Op37No3 Einerlei, Op69No3 interval Wolf Die Loreley, S273No2 Ihr Glocken von Marling,S328 Es war einKöniginThule,S278 No2 Die stilleWasserrose, S321 Der Fischerknabe,S292bNo2 Liszt Wednesday 16 January2019 7.30pm, Hall Deutsch & Helmut Diana Damrau online. during your visit. Additional feedback canbegiven If anything limitsyour enjoyment pleaseletusknow with ahandkerchief. you feel theneedto coughorsneeze,pleasestifle it sake of other audiencemembersandtheartists,if prevent coughingduringaperformance. But,for the We appreciate thatit’snot always possible to members. can spoiltheenjoyment of your fellow audience set to Titmay causehigh-pitched feedback which entering thehall.Ifyour hearingaidisnot correctly you shouldswitch your hearingaidto Tsettingon Please remember thatto useourinductionloop a performance isstrictlyprohibited. capturing images orusingrecording devices during during theperformance. Taking photographs, Please turnoff watch alarms,phones, pagers etc Cabbell (tel 02036037930) by Trade WindsColourPrinters Ltd;advertising by

Vier LiederderMignon 20minutes soprano piano

2 four MignonLieder. , whoisrepresented here by his know how attunedsheisto themusicof Italienisches Liederbuch performing Wolf’s Anyone whoheard DianaDamrau and studio. the concertplatform andintherecording has proved anardent champion,both on not aswell known asthey mightbe,butshe Liszt’s contributionsto theartform are still of Lieder. joined by HelmutDeutschfor aprogramme Damrau singsStrauss. Thisevening sheis Diana Damrau’s Barbicanresidency, Diana A warm welcome to thefirst concertin Welcome here lastyear will Huw Humphreys, Head of Music,Barbican Place world premiere of IainBell’s Songs 26 JanuaryshesingsStrauss’s join usfor Diana’sremaining concerts:on It promises to beawonderful evening. Do effect. unfailingly illuminates his texts to vivid Ophelia to simplecradle songs,Strauss In subjectsranging from Shakespeare’s he marriedasoprano, Pauline deAhna). voice inparticular(it’snocoincidencethat a lifelong love affair withthesoprano to theLiederof Richard Strauss, whohad The secondhalfof theconcertis devoted andperforms theclosingscenefrom , whileon31 March shegives the . The Hidden The Hidden Four Last Four Last halls thatwere springingupallover Europe. to experience musicinthelarge publicconcert by amiddle-class audience,onethatwanted ways inwhichthe aristocracy had beendisplaced time inDüsseldorf20years later are examples of Gewandhaus inthe1830s andSchumann’sshort élite. Mendelssohn’sconcertsattheLeipzig taking over artistic patronage from theruling redirected theircultural aspirations towards of theworking classes.Itsmembersinstead rather thanidentifyingwiththeaspirations and made peace withitsautocratic rulers reform, soitwithdrew from thepublicsphere, hopes of thisnew middleclassfor political The failed revolutions of 1848–9 dashedthe composers were happy to accommodate. which musicpublisherswere keen to exploit and market for songsthatcouldbesungathome the humanvoice andyou have aburgeoning instrument for domesticmusic-making.Add the development of thepianoasprincipal own musicandthisambitioncoincidedwith than this,thebourgeoisie wanted to make their for thearistocracy andthoseinpower. More German states, had previously been reserved which, certainly inViennaandmany of the and risingmiddleclassnow laidclaimto music Napoleonic periodplayed theirpart.Anew after theFrench Revolution andinto thepost- Shifts withinGermanandAustrian society from Schubertto Strauss, andbeyond. this cannot bethecomplete history of Lieder world whovalued hisreputation wrote songs, that any composerintheGerman-speaking to match thisachievement. Andwhile itistrue with every oneof hismusicalsuccessorsstriving and subjectmatter andcontinuesthereafter breaking new ground interms of musicalform German songopenswithaprolific Schubert The well-rehearsed history of 19th-century For texts, seepage8 of Lieder art The loveLonging, & loss: a distinctively folk flavour whichsuggested buried Germanpoetictraditions –often with Literary archaeologists were alsobusy excavating they led,EichendorffandMörike followed. search of texts throughout the19th century. Where Heine are thepoetsof choicefor composersin most consummate practitioner. AndGoethe and this new aesthetic thenHeinrichHeinewas its thus aboutidentity. IfGoethehelpedto forge impulse, itspoke aboutpersonalfeelings and onwards. Atonelevel itembraced anew lyric a seachangefrom theendof the18th century many of thesesongs,went through somethingof poetry, whichprovided ready-made texts for so the Liedertradition withsuchenthusiasm.German for why German-speakingcomposersespoused And that brings us to the most obvious explanation arrangements from Prussiato . the patchwork nature of current political shared Germannationalidentitythatoverrode rather inestablishing whatwas felt to be a in thedirect senseof beingcallsto action, but role for thisdisenfranchised middleclass.Not sung athomemay have fulfilled apolitical At thesametimeitisconceivable thatsongs what would eventually runto sixvolumes. and beganto publishhiscollected songsin he composedmore than20new Lieder been appointed Kapellmeister Extraordinaire, living inWeimar inthe1850s, where hehad for singers. Indeed,whenthecomposerwas songs have always heldaspecialinterest ranging from French to Russian,buthisGerman Franz Lisztwrote songsinsixdifferent languages first publishedbetween 1805 and1808. von ArnimandClemensBrentano, and Des KnabenWunderhorn of poemsthatobsessedGustav Mahler, if you will.Thinknofurtherthanthecollection of contemporary politics:Romantic Nationalism recovered andsetagainst thedisappointments a lostGermanidentitythatcouldmightbe

, edited by Achim

3 Programme note 4 the text. Church bellstoll throughout, creating in theSouthernTyrolese village of Marling,wrote Viennese poetEmilKuh, whospenthislastdays minor orders intheRoman CatholicChurch. The from 1874, nineyears after after Liszthad taken ‘Ihr Glocken von Marling’isalate songdating which tells of akingwholoved beyond thegrave. material gift that only heightens the irony of a song and Mephistopheles have leftto tempt her – a before shediscovers thecasket of jewels thatFaust its musicalsimplicitymatches herinnocence,just ballad-like ‘Eswar einKöniginThule’, whichin other works. Inan earliersongGretchen singsthe composers), inspiringhis a powerful holdover Liszt(andmany other Goethe’s extraordinary drama must have seemedakindof cultural homecoming. where thepoethad made hishome–in1848 it Goethe andwhenhemoved to Weimar –thecity Liszt belongedto ageneration whorevered floating flowers withtheirpure white calyxes. particularly whenthemoonilluminates the lotus flowers. Andit’stonally daringtoo, its phallicnecksailsamidthevery feminine It’s alsounabashedlyerotic, asaswan with Hugo Wolf to write someof hisgreatest songs. and Emanuel Geibelwhose ‘Die stilleWasserrose’ isasettingof apoemby a young manlured to hisdeathby awater spirit. introduction to thatfamiliar Romantic tragedy of the songisLisztathismostvirtuosicandafitting The rippling,undulatingwater musicwhichbegins tyranny would certainly have appealedto Liszt. Tell three thatopenFriedrichSchiller’splay accompaniments’.) Thissongisthesecondof bloated andoften excessively choked upinthe his ‘earlysongs[were] mostlysentimentally music, telling hisfriendBettinevon Arnimthat version. (Lisztwas anotorious reviser of his ‘Der Fischerknabe’isheard here initssecond , whoseeponymous hero’s struggleagainst Italienische Liederbuch Spanische Liederbuch FaustSymphony would inspire Faust exerted exerted William William , among , among

This is particularly true of the songs composed This isparticularlytrueof thesongscomposed song for publicrather thanprivate consumption. become professionalised andwas now anart have beenstretched technically too. TheLiedhad keyboard writingandamateur singerswould pianists would have beenableto master his Weimar onlythemostgifted of non-professional By thetimethatLisztwas composingsongsin while below theRhineseethesandfoams. with ayearning upward theme for thetemptress, piano partseesLisztathismostaccomplished, the Loreley onherrock intheRiver Rhine.The death withherseductive singing,inthiscase story, thewater spiritwholures sailorsto their and poemtell thatfamiliar GermanRomantic famously replied ‘Yes, butinmud’.Again song should beinscribedinthetemple of immortality, when asked onHeine’sdeathifthepoet’sname admired themusicbutnot themanandLiszt, was littlelove lostbetween thetwo men. Heine poet, HeinrichHeine,inParis, thoughthere composer’s longersongs.Liszthad metits tonight initssecondversion, isoneof the ‘Die Loreley’, whichDianaDamrau performs daringly unorthodox handlingof tonality. to thesong,aswell asreminding usof Liszt’s a seriesof unresolved chords thatadd mystery ’s sweet innocenceandprecocious who was captivated asothers before himby obsessing aboutGoethe’s‘child-woman’. Wolf, onwards. Indeed,Schubertspentadecade composers from Beethoven andSchubert (‘Wilhelm Meister’s Apprenticeship’) had attracted Bildungsroman WilhelmMeisters Lehrjahre The story of Mignontold inGoethe’s psychological complexity to thesongs’narratives. in thesocalled‘Musicof theFuture’, adding a dislocations thatWagner andLiszthad explored the complex pianoparts,whichexploit thetonal voice had led,now thedrama isto befound in between pianistandsinger. Where oncethe by HugoWolf, whorebalanced therelationship

some fragment to shore against Mignon’sruin. chromatically aboutthevocal lineasiflookingfor overthrow her vision.Indeedthepianopartswirls existence, andeach timethepianoseemsto this paradisal world shecouldcommanditinto cries attheendof each verse, asifby describing blossom, thesun-filled south.‘There, there’, she four, asMignoninvokes thelandwhere lemons 1888. Itisalsothemostdirectly emotional of the set to musicinamatter of days inDecember of theMignonsongsanditwas thefirst thatWolf ‘Kennst dudasLand?’isperhapsthebest-known instrument’s drone andplucked harmonies. slipping into hergrave asthepianomimics the we hearMignonplaying herzither, somehow me bemade for ever young ‘ awaits her, adeaththatwillcomeasrelief. she refuses to take off hercostume.Butdeath an angelto distribute giftsatachildren’s party appears to beinhappiermood.Dressed as In ‘Solasstmichscheinen’Mignoninitially short postludeinwhichnothing isresolved. singer’s lineandthesongendswithabrutally drifts away. Eventually thepianoaccepts the never manages to articulate asthevocal line recurs throughout thesongbutwhichsinger prelude introduces anaching melodythat / canfathom grieflike mine.’Andthepiano with longing:‘Onlythosewhoknow yearning ‘Nun wer dieSehnsuchtkennt’ issuffused Tristan indiscretion. Thoughthehintof Wagner’s the young woman into revealing emotional piano partbuttons itslip,never tempting not speak,bidmebesilent.’For oncethe wish to keep herthoughtsto herself.‘Bidme as ‘ananti-song’thatrespects Mignon’s ‘Heiss michnichtreden’ hasbeendescribed composing hisfour Mignonsongsin1888. wisdom, spentlesstimeinhercompany, I grew oldwithgriefbefore my time/now let atthebeginningisaterrible tease. .’ In the piano part .’ Inthepianopart freely onitsown. Whathealsobringsto the song into aminiature musicdrama that stands cycles iscumulative, Strauss canturnasingle early Modernism.Ifthepower of Wolf’s song- truths aboutthehumanpsyche thatpreoccupied forward to Expressionism andto thosedarker German Romantic tradition butthey alsolook Strauss’s songsundoubtedly lookback to the twilight andyearnings for theabsentbeloved. about lonelywalks through darkwoods at And thesubjectmatter hechoosesisn’tjust the musicalvariety we hearinStrauss’s Lieder. late Romanticism. Butthatisto underestimate repertoire were to beheard astheripefruitof which had won aregular place intherecital in Strauss; andthatthehandfulof bestsongs view thatqualitywas sacrificed for quantity Until comparatively recently there was acritical To fill thetimeStrauss wrote anew song! for abusinessassociate whowas delayed. an anecdote thathashimwaiting athome composed songswithremarkable ease.There’s as three songsaday. Richard Strauss also the 1890s hewas sometimeswritingasmany and embarked onhis cycles of poemsby Mörike andEichendorff Between February 1888 andJune1890 heset Hugo Wolf often wrote atanastonishing rate. hinted atintheopeningprelude to thesong. and diversity beingcombinedinthebeloved is that belongsto thefinal paradox aboutsameness a drama thatbeginswhere itends.Therefrain roots itinhisfavoured key of C major. Butthisis song for hisfavourite voice, thesoprano, and the sameyet always different. Strauss tailors the celebrates thediversity of hislover, whoisalways Knaben Wunderhorn by LudwigAchim von Arnim,jointeditor of ‘Einerlei’, composedin1918, hasasimplelyric embracing theemotional content of hisdramas. vividness, often usingword painting,aswell as as apianistandanabilityto settext withgreat Lieder tradition are hisown remarkable abilities . In six short lines the poet . Insixshortlinesthepoet Spanish Songbook . In . In Des Des

5 Programme note 6 flowers –cornflowers, poppies,ivyandawater audiences. Here thetranslation of women into to both Vienneseandother German-speaking the by Felix Dahn composedinthemid-1880s when Mädchenblumen hold your breath waiting to learntheoutcome. here /beneaththelindentrees’ you positively call andresponse. When‘Duskfalls mysteriously through itsthree verses withakindof quickening growing ever more urgent asthesongdevelops who was barely into histwenties, withthedrama is magnificently accomplished for amusician von Schack’s poemwritten inthemiddle1880s he had written. Butthesettingof Adolf Friedrich –tempting Strauss to shrugoff what them versions for pianoduetandfor palmcourt any numberof populararrangements –among known songsandithaunted thecomposerin ‘Ständchen’ isoneof Richard Strauss’s best- created astheresultant bundleasleepinitscrib. celebration of theecstasy inwhichthechildwas ‘Wiegenlied’, whichisasmuchaboutthe is every bitassatisfyingthebetter-known its rocking rhythms andsleepy harmoniesit years around thebirthof hissonFranz. With a group of lullabiesthatStrauss wrote inthe being recomposed for thepiano.Itbelongsto a chamberensembleof 10 instrumentsbefore ‘Meinem Kinde’was originallywritten in1897 for sentence of thepoemistortuously longand There isnopianointroduction andtheopening ‘Kornblumen’ isareal challengefor thesinger. nature asrepresented intheArtNouveau style. seem to sendoutshoots andtendrils thatreflect lily –matches thataesthetic withpianopartsthat Jugendstil seemedtheacme of modernity isasetof four songsto texts that Strauss couldbringoff like no-oneelse. the kindof soaringduetattheendof thesong plashes through thewater leading thesoloistto the silver ripplingof waves’ andthepiano the basslineappears:‘Herspeechresembles are two-thirds of theway through thesongbefore piano ripplesacross thesurface of thewater. We with thesingersomehow talking to herselfasthe ‘Wasserrose’ openswithanextended The longestof theseflower girlscomeslast. ’rare breed of flower thatblossomsonlyonce’. somehow spunagenuinemystery outof this the singer’sfinal phrase. Thecomposerhas the three chords marked inspiration butallcanbeforgiven whenwe hear tightrope between sentimentality andgenuine another’s life’. Strauss walks analltoo familiar ‘are bornto twinethemselves /lovingly around the songclingstoo withitsdescriptionof girlswho brutal world of look forward to amore troubled heroine, to the trills andrazor-sharp chords, yet theharmonies piano partmatches thatflighty soubrette with feel of Zerbinetta in poppy girlsare positively skittish,first cousinsyou ‘Mohnblumen’ couldn’tbemore different, these navigates thedifficulties withconsummate skill. stuffed withsubordinate clauses.Strauss than composers’)rights.Strauss prevaricated rival societythatchampionedpublishers’(rather publisher Bote andBock,whohad founded a by contract to offer hisnext setof songsto the colleagues. Butthecomposerhimselfwas bound German Composersto protect himselfandhis music they wrote andfounded theSocietyof long championedcomposers’rightsto the dispute withamusicpublisher. Strauss had The three Ophelia Songs Ariadne aufNaxos . ‘Efeu’ isclingingivy, and were born outof a ppp thataccompany parlando . And the . Andthe

couldn’t be further from his mind. The harmonic couldn’t befurtherfrom hismind.Theharmonic Rosenkavalier the world thathewould sooncreate for in the18th century, allows Strauss to slipinto lead role. Klopstock’s elegant poem,written symphonic version, withthesoloisttaking the the drama iseven more focused thaninthe there’s arichnessto thepianopart,while orchestra, andsoloistwith piano.Inthelatter, contemporary forms –for soloistandlarge ‘Das Rosenband’ exists intwo closely madness asitlurches inandoutof waltz time. fate. Incontrast thevocal partblendssanityand sombre beatof afuneral march spellsouther young woman willshortlydrown herselfasthe flowing tripletswe sensethestream inwhichthis brother Laertes hasreturned. Inthe piano’s in from abeerhall.Inthefinal oneOphelia’s and thepianopartseemsto have wandered Day’ –there are mad leapsinthevocal line before KingClaudius,‘Tomorrow isSt Valentine’s song Opheliaparodies arudeoldnumber to QueenGertrudeitisfleeting. Inthesecond is amomentof hopeinthefinal lineof thissong ‘Tot undhin’–‘Dead andgone’–ifthere announced inapungentdissonanceontheline hand thatseemsto have lostitsway. Deathis mind iscaptured inaphrase for theright In thefirst songOphelia’sempty, wandering musical dramatist Strauss was inhissongs. the endof itstether, andremind uswhataskilled they form achillingportrait of amindreaching of courtproved to besuchasuccess.Together Ophelia songssoswiftly written to keep himout and someGoethesettings.It’sironic thatthe he hastilycomposedthe but whenthreatened withlegalaction in1918, . Buttheopera’s Rococo pastiche Drei LiederderOphelia Der Der

was atheartaconformist. Like somany of his Salome within marriage’.The bad boy whoseoperas of 19th-century it’s alsoStrauss celebrating thatcornerstone This isStrauss athismostaccomplished and with me’asthesongrisesto acrescendo. on theword ‘lebtest’ intheline‘You would live breath control andimmaculate enunciation of thesingerto theutmost,demandingperfect Strauss creates a final phrase thattaxes theart rapturous celebration of marital togetherness. with no‘soft voice /to comfort’ – andfinally a key –‘lonelynights,/inthefrightening storm’ aspects of amarriage are explored inthe minor of love inthemajorkey, thenthemore complex three-act drama. Firstthere istheunfettered joy set incontrasting ways asakindof miniature The three verses of HeinrichHart’spoemare would regularly singitatrecitals withherhusband. ceremony on9 September 1894. Frau Strauss Ahna, composedtheday before theirmarriage wrote asawedding giftfor hiswife Pauline von ‘Cäcilie’ was oneof four songsthatStrauss garland of roses ismore erotic thancharming. century andalover bindinghisbeloved witha shifts inthepianopartare unmistakably late 19th Programme note ©Christopher Cook composers for thatisaonlypartialhistory. succeeding generations of German-speaking with Schubertsettinganartisticbenchmarkfor than focusing onthenarrative whichbegins retrieve thispartof thehistory of Liederrather its values anditsbeliefs.We perhapsneedto of thesocietyfor whichheiswriting,attunedto just composingfor himselfbutisever mindful German song-writingcontemporaries, heisnot and bürgerlich scandalised his generation scandalisedhisgeneration life, ‘romantic love

7 Programme note 8 Zählt’ erseineStädt’ imReich, Und alserkam zusterben, So oft ertrank daraus. Die Augen gingenihmüber, Er leert’ihnjedenSchmaus; Es gingihmnichtsdarüber, Einen goldnenBechergab. Dem sterbend seineBuhle Gar treu bisandasGrab, Es war einKöniginThule Es war einKönigin Thule, S278 No2 Emanuel von Geibel(1815–84) Kannst dudasLiedverstehn? O Blume,weisse Blume, Und willimSingenvergehn. Er singtsosüss,leise Und schautdieBlumean. Er singtsosüss,leise Kreiset einweisser Schwan: Im Wasser umdieBlume In ihren Schosshinein. Giesst alleseineStrahlen All’ seinengold’nenSchein, Da giesstderMondvom Himmel Der Kelch istweiss wieSchnee. Die Blätter flimmern undblitzen, Steigt ausdemblauenSee, Die stilleWasserrose Die stille Wasserrose, S321 Friedrich von Schiller(1759–1805) Ich ziehihnherein. Ich locke denSchläfer, Lieb’ Knabe,bistmein! Und esruftausdenTiefen: Da spülendieWasser ihmum die Brust, Und wieererwachet inseligerLust, Im Paradies. Wie Stimmen derEngel Wie Flöten sosüss, Da hörtereinKlingen, Der KnabeschliefeinamgrünenGestade, Es lächelt derSee,erladet zumBade, Der Fischerknabe, S292bNo2 Franz Liszt(1811–86) And gazesontheflower. It singssosweetly, soquietly, A white swan circles: In thewater, round theflower, Into itslap. Pours allitsrays All itsgoldenlight, The moonthenpoursfrom heaven Its cupisaswhite assnow. Its leaves glitter andglow, Rises from thebluelake, The silentlotus flower The silentlotus flower And drag himdown.’ I lure theslumberer ‘Dear lad, you are mine! And avoice callsfrom thedepths: The waters riseupto hisbreast, And asheawakes inrapturous joy, In Paradise. Like voices of angels As of sweetest , Then hehearssounds The lad fell asleeponthegreen shore, The lake smiles,anenticement to bathe, The fisherlad He counted thecitiesof his realm, And whenhecame to die, His eyes would fill withtears. And each timehedrank from it, He drained itatevery feast, He valued nothing higher, Gave agoldenbeaker. To whomhismistress, asshedied, Faithful to thegrave, There was a kinginThule, There was akingin Thule Can you fathom thesong? O flower, white flower, And wishesto dieasitsings. It singssosweetly, soquietly, Ihr goldnesGeschmeide blitzet, Dort obenwunderbar, Die schönste Jungfrau sitzet Im Abendsonnenschein. Der Gipfel desBerges funkelt Und ruhigfliesst derRhein; Die Luftistkühlundesdunkelt, Das kommt mirnichtausdemSinn. Ein Märchen ausalten Zeiten Dass ichsotraurig bin; Ich weiss nicht,was sollesbedeuten Die Loreley, S273No 2 Emil Kuh (1828–76) Behütet michgut! Ihr Glocken von Marling, Der tönenden Flut, Nehmt michindieMitte Den weltlichen Klang. Umwallet wieschützend Ein heil’gerGesang Ihr Glocken von Marling, Als sängederQuell. Ein wohliges Läuten, Wie brauset ihrsohell; Ihr Glocken von Marling, Ihr Glocken von Marling,S328 Johann Wolfgang von Goethe (1749–1832) Trank nieeinenTropfen mehr. Die Augen täten ihmsinken; Und sinken tiefinsMeer. Er sahihnstürzen,trinken Hinunter indieFlut. Und warf denheil’genBecher Trank letzte Lebensglut, Dort stand deralte Zecher, Dort aufdemSchlossamMeer. Auf hohemVätersaale, Die Ritter umihnher, Er sassbeimKönigsmahle, Den Bechernichtzugleich. Gönnt’ allesseinenErben, Sie kämmt ihrgoldenesHaar. Bells of Marling, Of your resounding flood, Take meto theheart The soundsof theearth. Embraces andprotects A sacred song Bells of Marling, Like ababblingspring. A pleasingsound How brightlyyou chime; Bells of Marling, Bells of Marling He never drank another drop. His eyes closed; And sinkdeepinto thesea. He saw itfall andfill Into thewaves below. And hurledthesacred beaker Drank hislife’s lastglow, There hestood, thatoldtoper, In thecastleby thesea. There inthelofty ancestral hall, Surrounded by hisknights, He satattheroyal banquet, The beaker thoughexcepted. Gave allhehad to hisheirs, She combshergolden hair. Her goldenjewels are sparkling, In wondrous beautyupthere, The fairest maidenissitting In theevening sun. The summitof themountains glitters And theRhineflows quietly by; The airiscool,andtwilightfalls, I cannot getoutof my mind. There isatale from oldentimes That Ishouldfeel sosad; I donot know whatitmeans The Loreley Watch over mewell!

9 Texts 10 Weiss, was ichleide! Nur wer dieSehnsuchtkennt Mein Eingeweide. Es schwindelt mir, es brennt Ist inderWeite! Ach! Dermichliebtundkennt, Nach jenerSeite. Seh’ ichan’sFirmament Von allerFreude, Allein undabgetrennt weiss, was ich leide! Nur wer dieSehnsuchtkennt, Mignon II:Nurwer dieSehnsucht kennt Und nureinGott vermag sieaufzuschliessen. Allein einSchwur drücktmirdieLippenzu, Dort kann dieBrustinKlagen sichergiessen; Ein jedersuchtimArmdesFreundes Ruh, Quellen. Missgönnt derErde nichtdietiefverborgnen Der harte Fels schliesstseinenBusenauf, Die finstre Nacht, undsiemusssicherhellen; Zur rechten Zeitvertreibt derSonneLauf Allein dasSchicksal willesnicht. Ich möchte dirmeinganzesInnre zeigen, Denn meinGeheimnisistmirPflicht; Heiss michnichtreden, heissmichschweigen, Mignon I:Heissmich nicht reden Vier LiederderMignon Hugo Wolf (1860–1903) Heinrich Heine(1797–1856) Die Lorelei getan. Und dashatmitihrem Singen Am EndeSchiffer undKahn. Ich glaube,dieWellen verschlingen Er schautnurhinaufindieHöh. Er schautnichtdieFelsenrisse, Ergreift esmitwildemWeh, Den Schiffer imkleinenSchiffe Gewaltige Melodei. Das hateinewundersame, Und singteinLieddabei, Sie kämmt esmitgoldenem Kamme

There thebreast can pouroutitslaments; Everyone seeks peace inthearmsof afriend, springs. And doesnot grudgetheearthdeep-hidden The hard rock opensitsbosom, Dispels thedarknight,anditmustgrow bright; In duetimethesun’scourse but fate haswilleditotherwise. I shouldwillinglyshow you allmy inmostheart, for secrecy ismy duty. Bid menot speak,bidmebesilent, Bid menot speak permission from HyperionRecords Translations ©Richard Stokes; reproduced withkind The Loreley hasdone. And that,withhersinging, The boatmanandhisboat; I thinkatlastthewaves swallow He onlylooks upto theheights. He doesnot seetherocky reefs, With wildlyaching pain; It seizestheboatmaninhisskiff Powerful melody. It hasanawe-inspiring, And singsasongthewhile; She combsitwithagoldencomb Can fathom grieflike mine. Only thosewhoknow yearning My inmostbeingburns. My sensesreel, Is far away. Ah! hewholoves andknows me To thesouth. I scantheskies from alljoy Alone andsundered Can fathom grieflike mine. Only thosewhoknow yearning Only thosewhoknow yearning And onlyagodcanrelease them. But my lipsare closed by avow,

interval Johann Wolfgang von Goethe Geht unserWeg! oVater, lassunsziehn! Dahin! Dahin Kennst duihnwohl? Es stürztderFels undüberihndieFlut, In Höhlenwohnt derDrachen alte Brut; Das MaultiersuchtimNebelseinenWeg: Kennst dudenBerg undseinenWolkensteg? Möcht ichmitdir, omeinBeschützer, ziehn! Dahin! Dahin Kennst dueswohl? Was hatmandir, duarmesKindgetan? Und Marmorbilderstehn undsehnmichan: Es glänztderSaal, esschimmertdasGemach, Kennst dudasHaus?Auf SäulenruhtseinDach, Möcht ichmitdir, omeinGeliebter, ziehn. Dahin! Dahin Kennst dueswohl? Die Myrte stillundhochderLorbeersteht, Ein sanfter Windvom blauenHimmelweht, Im dunklenLaubdieGold-Orangen glühn, Kennst dudasLand,wo dieZitronen blühn, Mignon: Kennst dudasLand? Macht michaufewig wiederjung! Vor Kummer altert’ ichzufrühe; Doch fühlt’ichtiefen Schmerzgenung. Zwar lebt’ichohneSorg’ undMühe, Umgeben denverklärten Leib. Und keine Kleider, keine Falten Sie fragen nichtnach MannundWeib, Und jenehimmlischenGestalten Den Gürtel unddenKranz zurück. Ich lassedanndiereine Hülle, Dann öffnet sichderfrischeBlick; Dort ruh’icheinekleineStille, Hinab injenesfeste Haus. Ich eilevon derschönenErde Zieht mirdasweisse Kleidnichtaus! So lasstmichscheinen,bisichwerde, Mignon III:Solasstmich scheinen 20minutes What have they doneto you, you poorchild? And marblestatues stand andlookatme– The hallshines,theroom gleams, Do you know thehouse?Itsroof rests onpillars, I longto gowithyou, my love. There, there Do you know it? The silentmyrtle stands there andthetall laurel. A soft windbreathes from thebluesky, Where oranges glow goldenamongdarkleaves? Do you know thelandwhere thelemonsblossom, Do you know theland? Now letmebemade for ever young. I grew oldwithgriefbefore my time; But Ifelt deeppainenough. True, Ihave lived withouttrouble andcare; Trammel thetransfigured body. And noclothes, nofolds, They make noquestionof manorwoman; And thoseheavenly forms, The girdle andthegarland. Then Ishallleave behindthispure raiment, Then my eyes willopen,renewed; There Ishallrest awhile; To thatlonghome. I amhastening away from thisfair earth Do not take my white dress from me. Let meseemto beanangel untilIbecomeone; Let meseemto beanangel permission from HyperionRecords Translations by EricSams;reproduced withkind Lies ourway; oh,father, letusgo. There, there Do you know it? The rock falls sheer andthetorrent over it. In caves theoldbrood of thedragons dwells, Where themuleseeks itsway in themist; Do you know themountain anditscloudypaths, I longto gowithyou, my protector. There, there Do you know it?

11 Texts 12 Adolf Friedrich von Schack (1815–94) Hoch glühnvon denWonneschauern derNacht. Und dieRose, wenn sieamMorgen erwacht, Von unseren Küssen träumen Die Nachtigall unszuHäupten soll Unter denLindenbäumen. Sitz nieder!Hierdämmertsgeheimnisvoll Und duften imSchlaf,nurdieLiebeistwach. Rings schlummerndieBlüten amrieselndenBach Zu mirindenGarten zuschlüpfen! Flieg leichthinausindieMondscheinnacht, Um überdieBlumenzuhüpfen, Mit Tritten, wieTritte derElfen sosacht, Nur leisedieHandaufKlinke gelegt! Drum leise,meinMädchen, dassnichtssichregt, Ein BlattandenBüschenundHecken; Kaum murmeltderBach, kaum zittert imWind Um Keinen vom Schlummerzuwecken! Mach auf,mach auf!dochleise,meinKind, Ständchen, Op17No 2 Gustav Falke (1853–1916) Und diraufsweisse Deckchen legt. Das siegeflügelt herniederträgt Liebe sicheinGlückskraut bricht, Wo auseitel GlanzundLicht Ob nichtdocheinSternlein wär’, Ist einSuchenweit umher, Ist einschweifender Himmelsflug, Jeder behutsameAtemzug Über deinBettchen undsegnedich. Du schläfstundsachte neig’ichmich Meinem Kinde,Op37No 3 Ludwig Achim von Arnim(1781–1831) Wie wird ausdirsomancherlei! O duliebesEinerlei, Sein freier Blickmirtreu; Ihr Auge nochdasselbe, Sein Kuss mirimmerneu, Ihr Mundiststets derselbe, Einerlei, Op69No 3 Richard Strauss (1864–1949) Gently withyour handasyou liftthelatch! Gently, my love, sonothing shallstir, A leafonthebushesandhedges; moves The brook hardly murmurs,thebreeze hardly So thatnoone’sroused from slumber! Open up,openup!butsoftly, my child, Serenade And lay itonyour white coverlet. To descendwithitonher wings Love may pluckaherbof grace, From whosepure radiance andlight If there mightnot besomestar, Searches far andwideto see Soars uptowards heaven, Every cautiousbreath you take Over your cot andblessyou. You sleepandsoftly Ibenddown My child The diversity thatcomesof you! O you dearsameness, Their frank gazetrueto me; Her eyes remain thesame, Its kissisever new, Her mouthisalways thesame, Sameness Shall glow from ournight’s rapture. And therose, whenitwakes atdawn, Shall dream of ourkisses The nightingaleabove us Beneath thelindentrees. Sit down! Duskfalls mysteriously here By theripplingbrook, onlylove isawake. The flowers are fragrant insleep Slip outto meinthegarden! Flit outinto themoonlitnight, As they hoptheirway over flowers, With steps aslightthesteps of elves,

Liebend um ein ander Leben: – Liebend umeinander Leben:– Sind geboren, sichzuranken Nie sichhebenausdenWurzeln, Können siemiteignerTriebkraft Treuer, innigerEmpfindung Doch mitunerschöpflich tiefer, Schmucklos, mitverborgner Blüthe, Ohne Kraft undSelbstgefühl, Grade sind unwiderstehlich; Steh’n sooft, inihren Thränen Rehenaugen, dieinThränen Mit denbraunen, seelenvollen Um denleis’gewölbten Brauen, Mit demHaar, demschlichten, hellen, Mädchen, mitdensanften Worten, Aber Efeu nenn’ichjene 3 Efeu Aufflammend auseinander! Sie springteinvoller Brander, Umarmest dudieRange, Wär’ mannichtimmerbange, Ersticken würde müssen, Die man,weiss Gott! mitKüssen Im Schlinggewächs von Scherzen, Die weichsten, besten Herzen Und dennochoft verstecken Die Kornblumen zunecken, Und nurgeboren scheinen, Die unterm Lachen weinen, Tanz-nimmermüden Seelen, Kreuzbraven, kreuzfidelen, Die immerfroh gelaunten, Die sommerspross-gebraunten, Rothblutigen, gesunden, Mohnblumen sinddierunden, 2 Mohnblumen Voll frommen Friedensundvoll Milde. Durch dasderHauchdesAbendswehe Als gingstdudurch einSaatgefilde, Dir wird sowohl inihrer Nähe, Die sievon Himmelshandempfahn: Bewusstlos derGefühlsjuwelen, Mitteilen allem,demsienah’n, Aus ihren eignenklaren Seelen, Den ThaudesFriedens,densiesaugen Die, anspruchslos,instillemWalten, Die milden,mitdenblauenAugen, Kornblumen nenn’ichdieGestalten, 1 Kornblumen Mädchenblumen, Op 22 Hängt ihrganzes Lebensschicksal, An derersten Liebumrankung Into flames! She willburst,like smoulderingtimber, For ifyou embrace theminx, Were you not sotimid, You would have to stifle withkisses, Those whom,Godknows, As they entwineandplay theirpranks, The gentlestandkindesthearts And yet often conceal To tease thecornflowers, And onlyseemto beborn Who laughandcrysimultaneously Who never tire of dancing, Honest andmerryastheday islong, The always good-humoured ones, The brown andfreckled ones, Red-blooded, healthy girls, Poppies are theround, Poppies Full of devout peace andgentleness. Rippled by thebreath of evening, As thoughyou were walking through acornfield, You feel soateaseintheircompany, They receive from the hand of Heaven: Unaware of thejewels of feeling To allthosethey approach, From theirown pure souls, The dew of peace, whichthey draw Who simplyandserenely impart Those gentlegirlswithblueeyes, Cornflowers are whatIcallthosegirls, Cornflowers Depends ontheir first love-entwining, Their wholelife’s destiny Lovingly round another’s life: – But are bornto twinethemselves Rise from theirroots, They cannot, through theirown strength, True andardent feeling, But withinexhaustibly deep, Unadorned withhiddenflowers, Without strength andself-confidence, Simply irresistible; So often withtears –whichare Fawn-like eyes thatwell up With brown soulful And slightlyarched brows, With sleekfair hair Girls withgentlewords, But ivyismy namefor those Ivy

13 Texts 14 Vor Liebesschauern. Sie gehnzuGrabe nass, oweh, Viel liebeBlumentrauern: Auf seinemBahrtuch,weiss wieSchnee, Ihm zuFusseinStein. –O, ho! Ihm zuHäupten grünesGras, Tot undhin,Fräulein. Er isttot und langehin, Und denSandalschuh’n. An demMuschelhutundStab Vor andernnun? Wie erkenn’ ichmeinTreulieb Treulieb?, Op 67No1 derOpheliaNo1: Wie erkenn’ ich mein Felix LudwigJuliusDahn(1834–1912) Was jedieRomantik von Elfen geträumt hat. Grauen, Und duglaubst,wiebezaubertvon seligem Das dieseidenelangeWimperumsäumthat Du kannst nieermüden,insAug’ ihrzuschauen, macht. Deren Sprache diegleicheNatursiegewohnt Sie scheintmitdenSternen Blicke zutauschen, Mondnacht, Wenn sieschweigt, ist’sdieahnendeStille der Wogenrauschen, Wenn siespricht,ist’swiesilbernes Als seisieeinGeistundaufErden gefangen. In demAuge derahnende,tiefe Gedanke, Nachtlockige Maid,alabastern von Wangen, Wasserrose, sonenn’ichdieschlanke, Und sienimmererreicht, wiesehrsiesichsehne.– Die amRande desTeichs sichsehnetvon ferne, Phaläne, Umschwärmt von derträumerisch dunklen So blühtsie,diezaubrischeSchwester derSterne, Mit demihrdersilberneSchimmergemeinsam. Sie erschliesstsichnurdemMondenscheine, Gehütet vom Schwan, derumkreiset sieeinsam, Sie blühtaufschilfigem Teich imHaine, Das durchsichtige Haupt,dasfarbenlose, Sie wiegtaufätherischem,schlanken Schafte Sagen-gefeierte Wasserrose? Kennst dudieBlume,märchenhafte, Wasserrose4 Blumen, dienureinmalblühen. Denn siezählenzudenseltnen

All thatRomantics have ever dreamt aboutelves. And you believe, bewitched by theirblissfulgrey, Framed by hersilken longlashes, You cannever tire of gazinginto hereyes, –sheshares. Whose language –theirnatures beingthesame She seemsto exchange glanceswiththestars, night, Her silencetheforeboding stillnessof amoonlit Her speechresembles thesilver ripplingof waves, As thoughshewere aspiritimprisonedonearth. With deepforeboding thoughtsinhereyes, cheeks, Maiden withnight-black locks andalabaster Water lilyismy namefor theslender And never reaches itfor allitsyearning. – Yearns for itfrom afar attheedgeof thepond, As thedreamy darkmoth, fluttering round it, Thus itblossoms,themagical sister of thestars, Whose silver gleamitshares. Opening onlyto themoonlight, Protected by thesolitary swan thatswims round it, It blossomsonareedy andsylvan pond, She sways hercolourlesstransparent head; On herethereal, slenderstem Water lily, celebrated inlegend? Do you know thisflower, thefairy-like Water lily That blossomsonlyonce. For they belongto thatrare breed of flower Wet withlove’s showers. They’ll gowet to thegrave, alas, Many sweet flowers mourn. On hisshroud white assnow At hisfeet astone. O,ho! At hishead green grass, Dead andgone,lady! He isdead andlonggone, And hissandalshoes. By hiscocklehatandstaff From others now? How shallIknow my truelove How shallIknow my truelove

from Shakespeare’s ‘’ IV: 5 Karl JosephSimrock (1802–76) Gott seimiteuch. Und mitallenChristenseelen! darumbet’ich!– Mit seinerSeeleRuh! Kein Trauern bringtGewinn: Er isthin,er Sein HauptwieFlachs dazu: Sein Bartwar weiss wieSchnee, Er kommt dirnimmermehr. In deinTodbett geh, Er isttot, oweh! Und kommt ernimmermehr? Mein jungerfrischerHanselist’sdermirgefällt, Fahr’ wohl, meineTaube! Manche Träne fiel indesGrabes Schoss: Leider ach leiderdenLiebsten! Sie trugenihnaufderBahre bloss, Bahre bloss,Op 67No3 Lied derOpheliaNo3:Sietrugenihnauf Wär’st dunichtkommen herein. Ich bräch’s auchnicht,bei’mSonnenlicht! Verspracht ihr michzufrei’n. Sie sprach: Eh’ihrgescherztmitmir, Fürwahr, dasistnichtrecht. Ein jungerManntut’swenn erkann, Ein unverschämt Geschlecht! Bei SanktNiklasundCharitas, Ging nimmermehrherfür. Liess eindieMaid,alsMaid Tät aufdieKammertür Der jungeManntutHosenan, Will euerValentin sein. Ich jungeMaidamFensterschlag So frühvor Sonnenschein Guten Morgen, ’sistSanktValentinstag, ‘s istSankt Valentinstag, Op 67No2 Lied derOpheliaNo2:Guten Morgen,

He willcometo you never more. To your deathbedgo, He isdead, ahwoe! And willhecomenever more? My young fresh JohnnieitisIlove – Farewell, farewell, my dove! Many atear dropped inthegrave – Alas, alas,thedearone! They carriedhimnaked onthebier, They carried himnaked onthebier If you had not comein. I’d not, by sunlight!have broken my word, You promised to marryme. She said:before you trifled withme, Which is,forsooth, not right. A young mandoesitwhenhecan, What ashamelessbreed! By St NicholasandCharity, Departed nevermore. Let inthemaidwhoasa Opened upthechamberdoor, The young manputtrousers on, Shall beyour Valentine. I, young maidatthewindow, So earlybefore sunrise. Good morning,it’sSt Valentine’s Day, Good morning,it’sSt Valentine’s Day God bewithyou! With allChristiansouls!Thatismy prayer! May hissoulrest inpeace Nothing comesof mourning: He isgone,he His head was like flax. His beard was white assnow,

15 Texts 16 Milden Mundes Da niemandtröstet Umschauert vom Sturm, In einsamenNächten, Was bangenheisst Wenn dueswüsstest, Du neigtest deinHerz. Wenn dueswüsstest, Und kosend undplaudernd– Aug’ inAuge Mit derGeliebten, Vom Wandern undRuhen Von brennenden Küssen, Was träumen heisst Wenn fueswüsstest, Cäcilie, Op 27No2 Richard Dehmel(1863–1920) Diese Welt zumHimmelmirgemacht. Da dieBlumeseinerLiebe Von derstillen,von derheilgenNacht, Träume, träume, Blüte meinerLiebe, Da deinSeelchensichderWelt erschloss. Von demhellenBlütenmorgen, Von demTage, dadieBlumespross; Träume, träume, KnospemeinerSorgen, Von demLied,dasdeineMutter singt. Blüten schimmernda,diebeben Von demHimmel,derdieBlumenbringt. Träume, träume, dumeinsüssesLeben, Wiegenlied, Op 41 No 1 Friedrich Gottlieb Klopstock (1724–1803) Und umunsward Elysium. Mit diesemBlick’anmeinemLeben, Sie sahmichan;ihrLebenhing Da wachte sievom Schlummerauf. Und rauschte mitdenRosenbändern: Doch lispelt’ichihrsprachlos zu, Ich fühlt’eswohl, undwusst’esnicht. Mit diesemBlickanihrem Leben: Ich sahsiean;meinLebenhing Sie fühlt’esnichtundschlummerte. Da bandichSiemitRosenbändern: Im Frühlingsschatten fand ichsie; Das Rosenband, Op 36No1 made thisworld my heaven. when theflower of hislove of thesilent,of thesacred night, Dream, dream, blossomof my love, when your soulopenedto theworld. of thatmorningbrightwithblossom, of theday theflower unfolded; Dream, dream, budbornof my anxiety, from thesongyour mother sings. blossoms shimmerthere, they live of heaven thatbringstheflowers; Dream, dream, my sweet, my life, Cradle Song And Paradise bloomedaboutus. Her life becameentwinedwithmine, She gazedonme;withthatgaze Then shewoke from slumber. And rustledthegarlandof roses: I murmured wordlessly to her This Isensed,yet didnot know. My life becameentwinedwithhers: I gazedonher;withthatgaze Oblivious, sheslumbered on. And boundherfast witharose garland: I found herinthespringshade, The Rose Garland To comfort With nosoft voice In thefrightening storm, On lonelynights, What itisto worry If you knew Your heartwould turnto me. If you knew, And caressing andtalking – Gazing ateach other With one’slove, Of walking andresting Of burningkisses, What itisto dream If you knew Cecily Heinrich Hart(1855–1906) Du lebtest mitmir. Wenn dueswüsstest, Zu seligenHöh’n– Lichtgetragen Zu schweben empor Weltschaffendem Atem, Umhaucht von derGottheit Was lebenheisst Wenn dueswüsstest, Du kämest zumir. Wenn dueswüsstest, Die kampfmüde Seele– permission from HyperionRecords Translations ©Richard Stokes; reproduced withkind You would live withme. If you knew, To blessedheights– Borne onlight To soarupwards, World-creating breath, Enveloped inGod’s What itisto live If you knew You would cometo me. If you knew, The struggle-weary soul–

17 Texts 18 Jiyang Chen debut there asZerbinetta in2005.Highlights and made seven role debutssinceherown been broadcast inHDto cinemasglobally the soprano hasperformed hersignature roles, The Metropolitan isahouseinwhich Entführung ausdemSerail have included (Gilda). Otherhigh-profile appearances four heroines), di Lammermoor has beenseeninnew productions of inMunich,where she Diana Damrau hasforged closelinks withthe Maximilian Order for ScienceandArt(2010), State Opera (2007)andholderof theBavarian Invested as Kammersängerin of theBavarian , Royal Opera House). Flute as well asQueenof theNightin Opéra deParis andBavarian State Opera), Scala, , Royal Opera House, Opera, Metropolitan Opera) and Royal Opera House), Bavarian State Opera, Metropolitan Opera, title-roles in lyric soprano andcoloratura roles including the for two decades. Hervast repertoire spansboth on theworld’s leading opera andconcertstages Soprano DianaDamrau hasbeenperforming Diana Damrau About the performers Diana Damrau (Metropolitan Opera, , (Queen of theNight)and Lucia diLammermoor La traviata Ariadne aufNaxos , soprano Les contes d’Hoffmann (Aminta), (Violetta) and (Constanze). (Constanze). (ViennaState The Magic The Magic The Magic The Magic (Zerbinetta), (Zerbinetta), (, (LaScala, La traviata

Lucia Lucia Die Die

(the (the (La (La performance attheFestspielhaus Baden-Baden. release The latter collaboration canbeheard intheCD performs inrecital withharpistXavier deMaistre. with pianistHelmutDeutschandfrequently worldwide. Sheenjoys acloseartisticpartnership song, regularly performing atleading venues of today’s mostsought-after interpreters of Diana Damrau hasestablished herselfasone Maazel’s Drunken Woman/Gym Instructress inLorin Progress operatic adaptation of Hogarth’s for her, mostnotably inthetitle-role of IainBell’s for theopera stage inroles written especially She hasalsoperformed contemporary works to commemorate Verdi’s 200thanniversary. as Violetta inanew production of riconosciuta : in2004thetitle-role of Salieri’s annual inaugural performance atLaScala, Diana Damrau hastwiceparticipated inthe (Adèle) and The Barberof Seville have includednew productions of venues, includinghere atthe Barbican. and HelmutDeutsch atmajorEuropean Liederbuch Paris. Shealsoperformed Wolf’s Meyerbeer’s made herrole debutasMarguérite ( at theDeutscheOperBerlin,where shealso the ZurichOpera House,whichshereprised Lucia diLammermoor the Bavarian State Opera for thetitle-role in Highlights lastseasonincludedareturn to dedicated to themusicof Meyerbeer. Her mostrecent disc, arias andsongsby LisztandRichard Strauss. discography includes MozartandSalieri with Warner/Erato andheraward-winning She hasanexclusive recording contract role debut inthetitle-role of Nuit d’étoiles (Theater anderWien,2013) andas 1984 on tour withJonasKaufmann atthehouse’sreopening andin2013 Les pêcheursdesperles Les Huguenots (Royal Opera House,2005). (Rosina), andaDVD capturingtheir Grand Opera and as Violetta; her and asVioletta; her at the Opéra de attheOpéra de Italienisches A Harlot’s A Harlot’s La traviata Rigoletto , is , is (Leïla). (Leïla). Faust

Europa Europa ); and ); and at at ,

Shirley Suarez and appointed professor attheage of 24. awarded theCompositionPrizeof Viennain1965 the MusicAcademy andtheUniversity. Hewas Vienna, where hestudiedattheConservatory, accompanists intheworld. Hewas bornin successful andmostin-demandsong recital Helmut Deutschranks amongthefinest, most Helmut Deutsch for Erato/Warner Classics Diana Damrau records exclusively www.ccm-international.de CCM ClassicConcertsManagement Concerts, Tours &MediaDianaDamrau: twitter.com/DianaDamrau facebook.com/DianaDamrau instagram.com/diana.damrau www.diana-damrau.com residency here attheBarbicanCentre. at theRoyal Opera HouseinAprilanda Opera inDecember2018, Marguérite the role of Violetta attheMetropolitan Recent andforthcoming highlightsinclude Ninth Symphony underDanielBarenboim. shesanginBeethoven’s Amsterdam. Atthereopening galaof the season of theRoyal ConcertgebouwOrchestra, In September 2017 sheopenedtheconcert instrumentalists as a chamber musician, he has instrumentalists as achambermusician, hehas Although hehasperformed with leading Helmut Deutsch piano

become oneof hisfavourite recital partners. was oneof hislaststudentsinMunichandhas Far East.Theyoung Swisstenor Mauro Peter number of masterclasses inEurope andthe universities andissought-after for anincreasing He isalsoavisitingprofessor atvarious other song interpretation for 28years. und Theater, where heworked asaprofessor of principally inMunichattheHochschulefürMusik professorship inViennahecontinuedhisteaching, has beenespeciallycloseto hisheart.After his In recent years thedevelopment of young talent Helmut Deutschhasrecorded more than100 CDs. his mostimportant. Damrau andMichael Volle are currently among His collaborations withJonasKaufmann, Diana and played intheworld’s majormusiccentres. has worked withmany of theleading recitalists permanent partnerfor 12 years. Subsequentlyhe , whomhe accompanied asa the mostimportant singerof hisearlyyears was worked withthesoprano ,but song recitals. Atthebeginningof hiscareer he concentrated primarilyonaccompanying in

19 About the performers Diana Damrau A5monoad.indd 1 20 Book nowBook atbarbican.org.uk/classical1819 Strauss’s Songs Four Last sings Damrau Diana 26Sat Jan 2019 inrecital Damrau Diana Wed 16 Jan 2019 sings Strauss sings Diana Damrau Sun 31 2019 Mar Orchestra Symphony London the and Damrau Diana 29/01/2018 17:31

Diana Damrau © Jiyang Chen

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