The interpretation of Fritz Wunderlich is worthy of consideration that has always enjoyed. Tenor, as the central registry Dermota but wider and robust, certainly benefited from the conditions of the recording studio in Trinklied . That said, there is nothing in the results do want a stronger voice and a decline in the demands of an intense and heroic expression. Firstly because it did not face this tremendous site aims to provide a Herculean amplitude Ohmann, totally alien to their means. Wunderlich, however, rests on an extremely clear diction and fierce and sharp articulation. In this sense his declamation of the text is more feverish than the Swedish. But beware: never strays out of singing legato, and his voice always remains stamped across the pitch range. Entry ("With all energy") is compelling, mark well the accents and problems even without the beasts of the orchestra ascending phrases. In "erst sing ich euch ein Lied ! "Clearly reproduces the grupetto: will help small glottic g olpes but it gives them more nerve. The following expression contains the first sentence to address the rough, from a sun ( "Seele") Mahler re write down the central and from there jump to acute sib. Sleek and shiny, also respects the regulatory requirements on prolonged below ("Klin-gen"). One does not seem p clear ("hin und stirb welkt t") but which rounds off the first section (" Dun kel ist das Leben"). In his next appearance - a semitone higher, thus playing the high G - Mahler did not require this nuance, but the imagination of the artist (if Ohmann) would have been grateful. In any case, the German tenor is silky and poetic in these sentences. Neither serious incursions into areas bother you: hear this "Laute schlagen Die" from the fa in the first space to the central re. The last section begins p ma appassionato, dynamic that contrasts completely with provided below ("Du aber, Mensch"). From here W. largely complies with the requirements of biting and terrible force ("Nicht Hundert Jahre"), dominating the continued promotion of the area step ( semper ff) and engaging a sliding scale ("Wild gespentilische Gestalt"). You admire the control that displays in the buildup to the climax, not losing a bit of ringing, busy but always with that unique enamel even at the large acute sib. In the following sentences is enough to say that matches the ferocity and abandon that accompanies Klemperer. This combines relentless pace and intensity in a band that sings always on the verge of ecstasy rings staking a frank and strong, without prices, but incredibly expressive. Interventions emphasize the woods (especially in the developing central symphonic) and small groups of instruments Separated from the great Mahler orchestra, almost as spoiled by the record as the voice of the tenor.
Wunderlich in the second song is almost irresistible not so much by the lightness of his phrasing as his gold ring and the sympathy of his ways. Surprisingly, Ohmann even getting an aerial broadcast. Not that the German snaps to pp starting with "Auf des kleinen Teicher stiller, but is unsurpassed in the closure of this languid middle section (" im Spiegelbild wunderlich).
are again the natural charm and beauty radiant ring the main attractions of "The Drunkard in Spring". The interpreter captures perfectly the tone of it popular, outgoing and energetic ("Der ganzen lieben Tag"). He is also aware of the need to put a little end of the next sentence ("Weil Seelevoll und Kehl.") Can hardly imagine a greater smoothness to the beginning of the section where it seems the reason for the bird ("Ich frag ihn, ob schon Frühling sei ") but not completely distinguish the differences between p and pp. We observed the singer's technical limitation to access pp and ppp prescribed on the high G ("Mir ist als wie im Traum "," Der Lenz "...; "... und lacht"). Ohmann reproduced these shades (despite its size vocal) through great use of mixed record, Wunderlich had no recourse. However, the sweetness and smoothness of legato, also in the low register calidísimo (Aus tiefstem Lausch ich schauen auf ") are captivating.
In both songs Klemperer light than its previous record with tempi and fair and described rich timbre.
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