Duets
Victoria de los Ángeles, soprano
Dietrich Fischer-Dieskau, baritone
Gerald Moore, piano
Eduard Drolc, violin
Irmgard Poppen, cello
Recorded on December 1, 2 and 3, 1960 in Berlin
Recorded on December 1, 2 and 3, 1960 in Berlin
Recorded on December 1, 2 and 3, 1960 in Berlin
Side A
Henry Purcell (1659-1695)
Let us wander
Lost is my quiet
Joseph Haydn (1732-1809)
Schlaf in deiner engen Kammer
Johann Christian Bach (1735-1782)
Ah, lamenta oh bella Irene
Ludwig van Beethoven (1770-1827)
Oh! Would I were but that sweet linnet
He promised me at parting
They bid me slight my Dermot dear
from Irish Songs
The dream
from Welsh Songs
Side B
Franz Schubert (1797-1828)
Mignon und der Harfner Op. 62/1
from Nur wer die Sehnsucht kennt
Hector Berlioz (1803-1869)
Le Trébuchet Op. 13/3
from Fleurs des Landes
Antonín Leopold Dvořák (1841-1904)
Möglichkeit Op. 38/1
Der Apfel Op. 38/2
Pyotr Ilyich Tchaikovsky (1840-1893)
Scottische Ballade Op. 46/2
Camille Saint-Saëns (1835-1921)
Pastorale
Gabriel Fauré (1845-1924)
Pleurs d’or Op. 72
[include barcode, Foundation logo, Generalitat and Sus Argentinos] as in Brava Victoria
Duets from six countries
Duette aus sechs ländern is the title of this record, which soprano Victoria de los Ángeles (1923-2005) and baritone Dietrich Fischer-Dieskau (1925-2012) recorded in Berlin in the first days of December 1960—a year when both Victoria and Dietrich were at the height of their international careers. Born in Barcelona in 1923, Victoria de los Ángeles had already been triumphing for a decade on the world’s leading stages, especially in the United States and, more specifically, at New York’s Metropolitan Opera House, where she would develop most of her principal roles. She would make her Bayreuth Festival debut the year after this recording, in 1961, as Elisabeth in Wagner’s Tannhäuser, and she still had a very long recital career ahead of her that would take her to the threshold of the 21st century. Dietrich Fischer-Dieskau, born in Berlin two years after Victoria, was at the start of the 1960s in full ascent, singing operatic roles mainly at the Deutsche Oper Berlin—where he had debuted as Posa (Don Carlo) in 1948—the Bavarian State Opera and the Vienna State Opera. It had been only five years since he had debuted in New York with a Winterreise alongside Gerald Moore, and from 1954 to 1961 he would appear regularly at Bayreuth, where he would also perform with Victoria in 1961.
Beyond these thrilling operatic careers, both Victoria and Dietrich never stopped cultivating song, the Lied—perhaps the most intimate expression of lyric art, the one most closely tied to its origins—and of which they remain, to this day, together with Elisabeth Schwarzkopf, absolute benchmarks. On this lieder journey that was their career, the three artists benefited from the tireless collaboration of Gerald Moore, with whom they forged an artistic and personal rapport that is more than evident. In this approach, music is what matters most, without ego or display, sharing the spotlight fifty-fifty with the accompanist, and with an interpretative rigor of which this record is an invaluable legacy. The Victoria de los Ángeles Foundation has chosen to reissue this record on vinyl on the occasion of LIFE Victoria 2018, so that this musical testimony remains alive and inspires future generations. To Music.
Duets from six countries
Duette aus sechs ländern is the title of this record, which soprano Victoria de los Ángeles (1923-2005) and baritone Dietrich Fischer-Dieskau (1925-2012) recorded in Berlin in the first days of December 1960—a year when both Victoria and Dietrich were at the height of their international careers. Born in Barcelona in 1923, Victoria de los Ángeles had already been triumphing for a decade on the world’s leading stages, especially in the United States and, more specifically, at New York’s Metropolitan Opera House, where she would develop most of her principal roles. She would make her Bayreuth Festival debut the year after this recording, in 1961, as Elisabeth in Wagner’s Tannhäuser, and she still had a very long recital career ahead of her that would take her to the threshold of the 21st century. Dietrich Fischer-Dieskau, born in Berlin two years after Victoria, was at the start of the 1960s in full ascent, singing operatic roles mainly at the Deutsche Oper Berlin—where he had debuted as Posa (Don Carlo) in 1948—the Bavarian State Opera and the Vienna State Opera. It had been only five years since he had debuted in New York with a Winterreise alongside Gerald Moore, and from 1954 to 1961 he would appear regularly at Bayreuth, where he would also perform with Victoria in 1961.
Beyond these thrilling operatic careers, both Victoria and Dietrich never stopped cultivating song, the Lied—perhaps the most intimate expression of lyric art, the one most closely tied to its origins—and of which they remain, to this day, together with Elisabeth Schwarzkopf, absolute benchmarks. On this lieder journey that was their career, the three artists benefited from the tireless collaboration of Gerald Moore, with whom they forged an artistic and personal rapport that is more than evident. In this approach, music is what matters most, without ego or display, sharing the spotlight fifty-fifty with the accompanist, and with an interpretative rigor of which this record is an invaluable legacy. The Victoria de los Ángeles Foundation has chosen to reissue this record on vinyl on the occasion of LIFE Victoria 2018, so that this musical testimony remains alive and inspires future generations. To Music.