Wien wird bei Nacht erst schön (from Wienerlied) [3:28]
Johann STRAUSS Jr. (1825-1899)
*Uhren-Duett (from Die Fledermaus) [4:40]
Eduard KÜNNEKE (1885-1953)
Ich bin nur ein armer Wandergesell (from Der Vetter aus Dingsda) [2:52]
Carl MILLÖCKER (1842-1899)
Hab’ kein Geld, bin vogelfrei (from Der Bettelstudent) [2:06]
Emmerich KALMAN (1882-1953)
Grüß mir die reizenden Frauen (from Gräfin Mariza) [5:09]
Johann STRAUSS Jr.
Als flotter Geist (from Der Zigeunerbaron) [2:55]
Lagunen-Walzer (from Eine Nacht in Venedig) [3:51]
Komm in die Gondel (from Eine Nacht in Venedig) [5:10]
*Wiener Blut (from Wiener Blut) [6:29]
Als ich ward ihr Mann (from Wiener Blut) [3:56]
Carl Michael ZIEHRER (1843-1922)
Verliebt-Romanze (from König Jérome) [2:59]
Carl ZELLER (1842-1898)
Wie mein Ahn’l zwanzig Jahr (from Der Vogelhändler) [3:51]
Franz LEHÁR (1870-1948)
Gern hab’ ich die Frau’n geküßt (from Paganini) [3:08]
Es steht ein Soldat am Wolgastrand (from Der Zarewitsch) [4:54]
Dein ist mein ganzes Herz (from Das Land des Lächelns) [3:58]
Jörg Schneider (tenor), Nina Berten (soprano*), Wiener Salonorchester
rec. July 2010, Vienna. DDD
Texts are not included.
CAPRICCIO C5109 [60:16]
The Austrian tenor Jörg Schneider may appear in roles by Mozart, Rossini
or Donizetti, but it’s in the realm of operetta where he really belongs
and feels most at home. The present disc is a collection of tenor arias
from operettas by Strauss, Lehár and company. Schneider shows himself
as a perfect presenter for the noble love stories of the Viennese aristocracy.
The program is full of smiling, sparkling spirit of Schöne Wien.
The well-known gems are evenly spread around and mixed with numbers that
may be less widely known but are no less beautiful. You’ll recognize
some of Strauss’s melodies from his waltzes - recycling in its basic
form. The overall temperament is evenly warm and laid-back; many numbers
are slow, well-fed waltzes. The Viennese perfume is heavy in the air. Misty-eyed
elegies and heroic drinking songs create a mood that is both sensual and
upbeat.
Schneider’s voice has sweetness, but not in excess. His singing is
smile-colored and calorie-rich, firm yet not hard. He is good on long and
high notes. His German diction is perfect, as expected. He does not cut
corners and avoids any hint of Sprechgesang singing his way through
those interminable bundles of German consonants. He can pump up the romance
and melodramatic passion, yet does not become steely or bring unnecessary
edge to his climaxes. He revels in those opportunities to show off afforded
him by these composers. Schneider sings with equal power in the lower and
upper registers, and gets through the sweeping melodic falls and rises with
style and ease.
He is joined by soprano Nina Berten in two numbers - the coquettish Watch
Duet and the fruity Wiener Blut. Hers is also a faultless operetta
voice, natural on the high notes and rounded on the transitions. They sound
very well together: duets of equals, where no one eclipses the other.
The orchestral support is rich and expressive, lush yet not too heavy. Apparently
conductorless, the Vienna Salon Orchestra plays with energy and warmth,
quite in the right vein. The booklet lacks texts and does not refer to the
works in any way. In German and English, it contains the singer’s
curriculum vitae. There’s also a lengthy interview where Jörg
Schneider talks about his views on operetta in the modern musical world,
and about the path that led him to the present day. Schneider seems to me
one of those voices that were born to throw light on the gems and jewels
to be found in the treasure caves of operetta.
Oleg Ledeniov
The smiling, sparkling spirit of Vienna.
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