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Schubert: The Complete Songs

Schubert’s songs belong to the stock of mankind’s highest achievements, potent examples of the best in human creation and a vast reserve of solace and joy for performers and listeners alike.

Over the following two seasons Wigmore Hall presents the chance to hear the complete songs of Schubert performed by truly outstanding artists. Every recital in the Hall’s series will unfold in chronological order, moving from little-known early pieces to sublime late masterworks and exploring their infinite universe of musical and poetic expression.

We are delighted to be working on this mammoth project with the Schubertiade Schwarzenberg and Hohenems, with singers and pianists chosen by John Gilhooly and programmes devised by him in close collaboration with Graham Johnson, rightly regarded as one of the world’s leading Schubertians.

This series continues in the 2016/17 Season.


スクリーンショット 2015-11-03 6.52.58

Christoph Prégardien tenor
Christoph Schnackertz piano

Schubert has occupied the centre ground of Christoph Prégardien’s recital repertoire for over three decades. The German tenor’s penetrating interpretations flow from his sophisticated engagement with words and music.

He and Christoph Schnackertz present such familiar songs as ‘Der Hirt’ and ‘Nachtviolen’ in company with rarely performed early treasures, ‘An Emma’ and ‘Der Liebende’ outstanding among them.

An Emma D113
Der Jüngling am Bache D192
Der Liebende D207
Der Traum D213
Die Laube D214
Hoffnung D251
Ritter Toggenburg D397

Edone D445
Die Liebesgötter D446
Der Hirt D490
Bei dem Grabe meines Vaters D496
Der Alpenjäger D524
Nach einem Gewitter D561
Trost D671
Nachtstück D672
Nachtviolen D752
Auflösung D807




 「No, I am not doing opera anymore, but I will sing Idomeneo in a concert style next summer in Germany」。





Christoph Prégardien/Roger Vignoles review - lieder singing of the highest class

The Oxford lieder festival makes a point of mixing recitals by up-and-coming singers with appearances by established international artists. It always ends with a high-profile concert too, and so the finale of this year’s fortnight-long event was a programme given by one of the outstanding lieder singers of of our time, the German tenor Christoph Prégardien, who was partnered by Roger Vignoles in a programme of Mahler, Schubert and Schumann.

Prégardien may now be nearing the age at which many singers turn their attention to giving masterclasses rather than vocally demanding recitals, but there were only a few hints that his voice was no longer the intensely flexible instrument it once was. One or two phrases were taken down an octave, and perhaps there was more use of head voice and falsetto than a younger singer might have used, but it was all fused into a seamless whole with such conviction and such intense musical awareness that nothing ever jarred or seemed out of place.

On the contrary, much of what Prégardien did was a revelation, with such immaculate diction and attention to each musical detail that the audience hung on every word. The four songs of Mahler’s Lieder eines Fahrenden Gesellen, so often presented as expressions of youthful self-pity, became a genuinely dramatic scenario, the tragedy searingly convincing. And the settings of Heine from Schubert’s final collection Schwanengesang became a series of vividly etched portraits, all achieved by Prégardien and Vignoles without any hint of caricature or exaggeration, and with the integrity of each musical line always rigorously respected.




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