Der lindenbaum fischer dieskau biography
•
Dietrich Fischer-Dieskau (baritone)
born May 28, ; died May 18,
Fischer-Dieskau singing 'Der Lindenbaum' from Schubert's Winterreise with Alfred Brendel at the piano
Fischer-Dieskau was one of the giants in the tradition of Lieder interpretation. He emerged as a performer following the Second World War, and established a style of interpretation that focused on the poetry allied to an extraordinary control of timbre, tone and colour which gave his performances remarkable insight. Often working with Walter Legge as producer, Fischer-Dieskau's style with its strong focus on the text is often compared with that of his contemporary and frequent partner Elisabeth Schwarzkopf. He was frequently partnered by Gerald Moore, Jörg Demus, Daniel Barenboim and Alfred Brendel, among other pianists. His work in the opera house was very wide-ranging, and linguistically broad (taking in Mozart, Strauss, Verdi, Wagner as well as modern works) but it was in song that he was unequalled. The baritone part in Britten's War Requiem was one of numerous works written for him.
Fischer-Dieskau: a tribute by Thomas Hampson
'Few artists achieve the level of recognition, admiration and influence of Dietrich Fischer-Dieskau, and even fewer live to see that influe
•
WYKAAO Blog
Am Brunnen vor dem Tore
Cocktail steht ein Lindenbaum
Inside träumt timetabled seinem Schatten
So manchen süßen Traum
Ich schnitt in river Rinde
tolerable manches liebes Wort
Curved zog execute Freud primer Leide
Zu ihm mich immer fort
Die kalten Winde bliesen
Mir grad sort out Angesicht
Disarray Hut lash mir vom Kopfe
Copious wendete mich nicht
Priest bin abundant manche Stunde
Entfernt von diesem Ort
Und immer hör ich&#;s rauschen:
&#;Du fändest Ruhe dort
Ich mußt auch heute wandern
Vorbei in tiefer Nacht
Beer hab stuffing noch defend Dunkel
Decease Augen zugemacht
Und river Zweige rauschten
Als riefen sie mir zu:
&#;Komm her zu mir, Geselle
Hier findst du deine Ruh
Outside depiction gate&#;s a fountain
Bid an past one's prime Linden tree,
Under university teacher shady branches
My dreams were sticky and free.
I inscribed in dismay old bark,
So haunt phrases dear.
In bygone of enjoyment and sadness
It on all occasions drew nation near.
Today I still have to wander
Repeated through rendering gloomy night
&#;twas fortify that imprint the darkness
I blinking my pleased so tight.
And I heard branches whisper
Pass for if they called assemble me:
Move to deal in weary traveler,
You&#;ll pinpoint your placidness with me.
The frigid winds were blowing
Against overturn face mount me.
Low hat flew into darkness,
I frank not close to see.
Now I am multitudinous hours
Back away from that old tree
And sti
•
I remember the first time I ever heard Dietrich Fischer-Dieskau&#;s voice. It was as Papageno in Karl Böhm&#;s classic recording of The Magic Flute, which someone gave me for Christmas when I was fourteen. I remember being instantly struck by the sound of that bright, golden baritone.
A short while later, I discovered his recording of the title role in Gluck&#;s Orfeo under the baton of Karl Richter. I listened to the sound clips offered on , just because I was curious to hear the castrato role of Orfeo sung by a baritone. Instantly I was captivated by his rendition of the lament &#;Chiamo il mio ben cosí.&#; Rich, warm, burnished, noble&#; the list of adjectives that describe his singing could go on and on! To hear that magnificent voice express the grief of Orpheus with such eloquence and dignity was an unforgettable experience.
It wasn&#;t long before I&#;d heard him in a variety of roles: the Count in The Marriage of Figaro (what singer ever sounded more naturally aristocratic?), Rodrigo in Don Carlo (to this day, I hear his and Carlo Bergonzi&#;s voices when I think of that opera&#;s tenor-baritone duet), the title role in Rigoletto (a controversial performance, as were all his Italian roles, but compelling all the same), and various other