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Compilation CD
Dein ist mein ganzes Herz
Angelika Kirchschlager
Simon Keenlyside
Niederösterreichisches Tonkünstlerorchester
Conducted by Alfred Eschwé
Release date: Germany, 17 August 2007
Number of discs: 1
Label: Scl (Sony BMG)
ASIN: B000TCNJSO
Click here for a short video clip from ZDF TV "Die neue Lust auf Operette" (in German) about the delights of operetta, featuring a short interview with Simon and Angelika and a clip of them recording this CD.
Click here to view an interview with Angelika Kirchschlager & Simon Keenlyside in
Translated by Ursula Turecek
Track list
Click here for music samplers from JPC.de
The booklet has no text and no translation, so we will provide them: see below for the tracks, and click each song title for the text and an English translation (not all have been done yet)
01 Duet: Angelika Kirchschlager & Simon Keenlyside
Kálmán: Die Csárdásfürstin, “Weißt du es noch”
(The Gypsy Princess, “Do you still remember”)
02 Angelika Kirchschlager
Lehár: Giuditta: “Meine Lippen, die küssen so heiß”
(Giuditta: “my lips, they kiss that hot”)
04:36
03 Duet: Angelika Kirchschlager & Simon Keenlyside
Kálmán: Die Csardasfürstin, “Tanzen möcht' ich”
(The Gypsy Princess: “I’d like to dance”)
03:32
04 Simon Keenlyside
Lehár: Die lustige Witwe, “Da geh' ich zu Maxim”
(The Merry Widow: “You’ll find me at Maxims”)
02:36
05 Angelika Kirchschlager
Lehár: Die lustige Witwe, “Es lebt eine Vilja” - Vilja-Lied
(The Merry Widow: “There lived a Vilja”)
05:25
06 Duet Angelika Kirchschlager & Simon Keenlyside
Lehár: Die lustige Witwe, “Lippen schweigen, 's flüstern Geigen”
(The Merry Widow: “Lips remain silent, violins are whispering”)
04:01
07 Simon Keenlyside
Millöcker: Gasparone, “Dunkelrote Rosen”
(Gasparone: “Dark-red roses”)
02:23
08 Angelika Kirchschlager
Strauß: Die Fledermaus, “Ich lade gern mir Gäste ein”
(The Bat: “I like to invite guests”)
02:56
09 Duet Angelika Kirchschlager & Simon Keenlyside
von Suppè: Boccacio, “Mia bella Fiorentina”
(Boccacio, “My beautiful Florentine”)
05:25
10 Duet Angelika Kirchschlager & Simon Keenlyside
von Suppè: Boccacio, “Hab' ich nur deine Liebe”
(Boccacio, “If I have your love”)
04:03
11 Simon Keenlyside
Kálmán: Das Veilchen von Montmartre, “Heut' Nacht hab' ich geträumt”
(The Violet of Montmartre, “This night have I dreamt”)
05:14
12 Angelika Kirchschlager
Stolz: Der Favorit, “Du sollst der Kaiser meiner Seele sein”
(The Favourite: “You should be the Emperor of my soul”)
04:29
13 Simon Keenlyside
Kàlmàn: Die Zirkusprinzessin, “Wieder hinaus ins strahlende Licht"
(The Circus Princess, “Again outside in the radiating light"
04:37
14 Angelika Kirchschlager
Strauß: Die Tänzerin Fanny Elssler, “Draußen in Sievering blüht schon der Flieder”
(The Dancer Fanny Elssler, “Abroad at Sievering the lilac already blooms”)
04:29
15 Duet: Angelika Kirchschlager and Simon Keenlyside
Léhár: Zigeunerliebe, “Nur die Liebe macht uns jung”
(Gypsy Love, “Only love makes us young”)
05:29
16 Simon Keenlyside
Lehár: Das Land des Lächelns, “Dein ist mein ganzes Herz”
(The Land of Smiles, “All my heart is yours” or "You are my heart's delight")
03:25
From the Oberösterrische Nachrichten, 2 August 2007
Translated by Ursula Turecek
“Operetta is fiendishly difficult”
A Salzburgian in Salzburg. Today, at 7.30 p.m. Angelika Kirchschlager will appear at the Mozarteum with works by Alban Berg, Richard Wagner and Robert Schumann (Camerata under Ingo Metzmacher). On Tuesday she presented the operetta CD “Dein ist mein ganzes Herz” together with her British colleague Simon Keenlyside in Vienna.
It’s the Wesendonk-Lieder she has on the programme by Wagner today. “For me”, she comments this evening with a laugh, “the only possibility to sing Richard Wagner once in my life. I will not get very much further with this.”
She is particularly happy with the job of a visiting professor [is there a special term for this job in English? No] that links her to Mozarteum for two years now: “A new chapter in my life. I am very glad to work with students. It is some sort of constant workshop, eight days per term. I make this in four four-day courses. I ask the students why they want to stand on a stage – and I explain to them how to do it. I tell them to show their eyes and when and why it is good to smile.”
Operetta experiences
Top-class operetta albums were a rarity during the last years. Angelika Kirchschlager and Simon Keenlyside had wished for something like this independently, and then they had to tackle the choice of repertoire: “Which is not so easy when it is a matter of a mezzo soprano and a baritone.”
The recent Kammersängerin’s favourite piece on this CD is “Meine Lippen, die küssen so heiß” from Franz Lehár’s “Giuditta”. She does have stage experience with operetta, took part in “Opernball” and sang Orlofsky in “Fledermaus” and Valencienne in the “Merry Widow” at the State Opera. Partner Keenlyside appeared at the beginning of his career in “Fledermaus” and “Widow”, but left it afterwards: “I always remember something that Yehudi Menuhin said 20 years ago. He was talking about the violin. There are violin virtuosos, he explained, who play wonderfully but each performance was the same. With this he was referring to Jascha Heifetz. Others were spontaneous and he would rather tend towards those. He was referring to Igor Oistrach. I also am for spontaneous things and that’s why I would never dare to play Peretta? in Vienna for example. For there is much prose and my German is too bad to be able to be really spontaneous.”
Operetta, Angelika Kirchschlager joins in, is something fiendishly difficult: “Sadly there are so few amazingly staged theatre productions nowadays, that carry you away. And so few actors who really can articulate the texts and come across as human beings. Not even in the theatre of the spoken word!”
Directors with respect
Much, she says, is “staged to death nowadays instead of leaving it in peace so that the poetry may shed its perfume. Important messages often come quietly but suddenly someone is standing on stage going Ta-ta-ta-ta-ta loudly. That goes for opera. In operetta on the other hand you have so many gags but a piece must not become choked with them. We need directors who know what respect is. But of those there are only few.”
Simon Keenlyside knows all of this, but: “I am very open, try to help the directors and think that you can also learn from bad productions.”
The recording sessions for “Dein ist mein ganzes Herz” (Niederösterreichisches Tonkünstlerorchester under Alfred Eschwé) took a week, they were working for up to six hours a day and the baritone thanks his “angel” Kirchschlager: “She has an eleven year old son at home and always went to him right after the recording sessions. Thus she never tempted me to go for a nice dinner and drink wine. For this would have been bad for my voice.”
Together at the State Opera
In the upcoming season the two “old friends” will be present at the State Opera again, in fact in new productions: Angelika Kirchschlager with “Capriccio”, Simon Keenlyside with “Eugene Onegin”.
“Dein ist mein ganzes Herz” has been chosen by Manuel Brug of Die Welt newspaper as one of his CDs of the year.
http://www.welt.de/welt_print/article1400196/Manuel_Brug.html
Translated by Janet Woodall
For sentimental [CD of the year]
Dein ist mein ganzes Herz (Sony BMG) A Salzburg Mezzo-lass and an English baritone proceed in the long reviled path through promised operetta land. Smartly, crisply and sweetly.
