Jonas Kaufmann - Benatzky, Kalman, Kreisler, Kreuder, Lehar, Leopoldi, May, Siecynski, Stolz, Strauss, Weinberger, Zeller - Wien - 2019 (FLAC, 24BIT – 96KHZ)

Jonas Kaufmann – Benatzky, Kalman, Kreisler, Kreuder, Lehar, Leopoldi, May, Siecynski, Stolz, Strauss, Weinberger, Zeller – Wien – 2019 (FLAC, 24BIT – 96KHZ)

Composer: Ralph (Rudolph Josef Frantisek) Benatzky, Emmerich Kalman, Georg Kreisler, Peter Paul Kreuder, Franz Lehár, Hermann Leopoldi, Hans May, Rudolf Siecynski, Robert Stolz, Johann Strauss, Jaromir Weinberger, Carl Johann Adam Zeller
Performer: Jonas Kaufmann – tenor
Orchestra: Wiener Philharmoniker
Conductor: Ádám Fischer
Audio CD
Number of Discs: 1 CD
Format: FLAC (tracks)
Bit Depth: 24bit / 96kHz
Number of channels: 2.0
Label: Sony
Size: 1.43 GB
Recovery: +3%
Scan: yes (PDF)
Server: rapidgator

Jonas Kaufmann / Benatzky, Kalman, Kreisler, Kreuder, Lehar, Leopoldi, May, Siecynski, Stolz, Strauss, Weinberger, Zeller – Wien (2019)

01. Stolz, R: Wien wird bei Nacht erst schön 4:29
02. Siecynski: Wien, du Stadt meiner Traüm 6:07
03. May, H: Heut ist der schönste Tag in meinem Leben 2:09
04. Stolz, R: Im Prater bluh’n wieder die Baume, Op. 247 3:31

Johann Strauss (1825-99)

05. Wiener Blut (from Wiener Blut) 8:53 – Rachel Willis-Sørensen (soprano)
06. Ach, wie so herrlich zu schau’n (from Eine Nacht in Venedig) 3:41
07. Dieser Anstand, so manierlich (from Die Fledermaus) 5:18
08. Draußen im Sievering blüht schon der flieder (from Die Tänzerin Fanny Elssler) 3:38
09. Sei mir gegrusst, du holdes Venezia! (from Eine Nacht in Venedig) 2:44
10. Komm in die Gondel (from Eine Nacht in Venedig) 2:33

11. Lehár: Lippen schweigen (from Die Lustige Witwe) 3:32
12. Kalman: Zwei Märchenaugen (from Die Zirkusprinzessin) 5:38
13. Zeller: Schenkt man sich Rosen in Tirol (from Der Vogelhändler) 2:15
14. Weinberger, J: Du wärst für mich die Frau gewesen 3:36
15. Leopoldi: In einem kleinen Café in Hernals 4:39
16. May, H: Es wird im Leben dir mehr genommen als gegeben 3:09
17. Benatzky: Ich muss wieder einmal in Grinzing sein 5:26
18. Kreuder: Sag beim Abschied leise ‘Servus’ 2:47
19. Kreisler, G: Der Tod muss ein Wiener sein 3:42 – Michael Rot (piano)

Esteemed tenor, Jonas Kaufmann, returns with his sensational new album “WIEN”. This must-have album showcases the crowd-pleasing evergreens that turned Vienna into a beloved capital of classical music. “WIEN” features a stunning collection of operetta hits and Viennese songs composed between 1870 and 1950 – Kaufmann teams up with the world renowned Vienna Philharmonic Orchestra and Adam Fisher. Vienna’s heyday for operetta produced stage-hits such as Johann Strauß’s ‘Komm in die Gondel’ (from Eine Nacht in Venedig / A Night in Venice) the ‘Clock Duet’ from Die Fledermaus and the ‘Title duet’ from Wiener Blut, as well as Franz Léhar’s ‘Lippen Schweigen’ from The Merry Widow. The city also inspired many timeless songs including Robert Stolz’s ‘Im Prater blühn wieder die Bäume’ and Rudolf Siecznski’s ‘Wien, Wien nur du allein’, Hans May’s ‘Heut ist der Schönste Tag’; Hermann Leopoldi’s ‘In einem kleinen Café in Hernals’ and Georg Kreisler’s ‘Der Tod muss ein Wiener sein’ – to name a few of these charming songs championed down the years by the tenor-greats such as Richard Tauber, Rudolf Schock & Fritz Wunderlich – Kaufmann has won numerous prestigious awards including Gramophone Awards and Echo Klassik Awards.

Presto Classical

The gloss and glamour of the Viennese musicians’ sound really is one of the glories of this new disc, and Ádám Fischer steers them with understated panache and imagination throughout. The Hungarian conductor has such a way with rubato that even long strophic songs feel like real unfolding narratives rather than just a perfunctory whirl around a gilded ballroom. Kaufmann’s subtle word-painting helps, and he keeps most of his operatic fire-power on ice for the Léhar and Strauss evergreens.

The Times

There is enough cream and sugar in his selection of golden and silver-age serenades by Johann Strauss II and Franz Lehár to satisfy the sweetest tooth. Yet in songs such as Georg Kreisler’s satirical Der Tod, das muss ein Wiener sein, sung in a fair approximation of cabaret style by Kaufmann to Michael Rot’s wry piano accompaniment and pointedly placed as an epilogue, there’s a sharpness that interrogates wilful amnesia…The orchestral sound glistens like Cellophane.

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