Dietrich Fischer-Dieskau : Legacy of Lieder
Created | Updated Jan 28, 2002
The Great Interpreter
Dietrich Fischer-Dieskau, a German baritone whose name could not be ignored while mentioning to artistic brilliance, is a great interpreter of art songs. Since his first recording, his voice which varied in a wide range with easiness and naturalness (even with playfulness), had been attached with art songs in many fans' ears. His renowned pieces would be Schubert's art songs. However songs from many other musician, such as Mahler, are still sophisticatedly performed by him.
As a singer for nearly fifty years, Fischer-Dieskau had numerous opera debuts on stage or in studio, yet it was not comparable with his huge amount of lieder recordings from popular to rarely-known pieces. Also he was a regular guest of significant music festivals, who probably had arisen a post-W W II lieder renaissance due to his full enthusiasm to art songs.
About Himself (condensed) :
1925 Born in May 28.
1948 First opera debut as Posa in Don Carlo.
1949 First Recording : four serious songs of Brahms
1951 First Recording with Furtwangler in Mahler : "Songs of A Wayfarer". First debut of Edinburgh Fest. and Salzburg Fest.
1952 First lieder recital with Jorg Demus.
1966-72 Complete recording with Gerald Moore of Schubert's lieder.
1983 Retires from the opera stage.
1992 End of his singing career.
Variable Views
DFD's performance in different life stages brought alternative perceptions to listeners and it might be generally divided into three stages: Beginning of his career (before 35):
New techniques and springily young voice made his performances consist of innocence and lively emotions.
The peak of his career(middle age):
His talented vocal skills could easily shape a song with personal acuity toward it and this had formed his personal attraction to the public.
Near his retirement:
Strength of voice has dimmed lightly, but DFD's deepened senses for life greatly enriched his interpretations on more literary pieces.
Nevertheless, virtuosity could be regarded as pomp, even hyperbole. Many reviews criticized that DFD emphasized too much on lyrics and changed some original notes. Therefore he was said that he did not faithfully interpret music itself.
In short, someone could say that complacence differed his interpretations from other singers. In any case, music is so personal that no one could feel exactly the same as others. Who can criticize such a legendary baritone sharing his OWN insight of art songs, insight of those great minds, with the rest of the world?
Recommended DFD's recordings from these composers:
Romantic:
Schubert Schumann Mahler Wolf
20th Century:
Pfitzner Britten Henze Reimann
Dietrich Fischer-Dieskau, a German baritone whose name could not be ignored while mentioning to artistic brilliance, is a great interpreter of art songs. Since his first recording, his voice which varied in a wide range with easiness and naturalness (even with playfulness), had been attached with art songs in many fans' ears. His renowned pieces would be Schubert's art songs. However songs from many other musician, such as Mahler, are still sophisticatedly performed by him.
As a singer for nearly fifty years, Fischer-Dieskau had numerous opera debuts on stage or in studio, yet it was not comparable with his huge amount of lieder recordings from popular to rarely-known pieces. Also he was a regular guest of significant music festivals, who probably had arisen a post-W W II lieder renaissance due to his full enthusiasm to art songs.
About Himself (condensed) :
1925 Born in May 28.
1948 First opera debut as Posa in Don Carlo.
1949 First Recording : four serious songs of Brahms
1951 First Recording with Furtwangler in Mahler : "Songs of A Wayfarer". First debut of Edinburgh Fest. and Salzburg Fest.
1952 First lieder recital with Jorg Demus.
1966-72 Complete recording with Gerald Moore of Schubert's lieder.
1983 Retires from the opera stage.
1992 End of his singing career.
Variable Views
DFD's performance in different life stages brought alternative perceptions to listeners and it might be generally divided into three stages: Beginning of his career (before 35):
New techniques and springily young voice made his performances consist of innocence and lively emotions.
The peak of his career(middle age):
His talented vocal skills could easily shape a song with personal acuity toward it and this had formed his personal attraction to the public.
Near his retirement:
Strength of voice has dimmed lightly, but DFD's deepened senses for life greatly enriched his interpretations on more literary pieces.
Nevertheless, virtuosity could be regarded as pomp, even hyperbole. Many reviews criticized that DFD emphasized too much on lyrics and changed some original notes. Therefore he was said that he did not faithfully interpret music itself.
In short, someone could say that complacence differed his interpretations from other singers. In any case, music is so personal that no one could feel exactly the same as others. Who can criticize such a legendary baritone sharing his OWN insight of art songs, insight of those great minds, with the rest of the world?
Recommended DFD's recordings from these composers:
Romantic:
Schubert Schumann Mahler Wolf
20th Century:
Pfitzner Britten Henze Reimann
