Hermann Prey    (Robert D. Abraham)     (3–7618-0723-6 )
Item# B1372
$19.90
Availability: Usually ships the same business day

Product Description

Hermann Prey    (Robert D. Abraham)     (3–7618-0723-6 )
B1372. (HERMANN PREY) ROBERT D. ABRAHAM. Hermann Prey: Premierenfieber. Basel, Barenreiter, 1983. 371pp. Index; Discography; Photos; DJ. (German Text) - 3–7618-0723-6

CRITIC REVIEWS:

“Hermann Prey was a handsome baritone, warm and pleasing, even and steady. It’s a more beautiful voice than Fischer-Dieskau’s, the only other baritone in his class as a lieder singer. In opera, they also shared the same repertory….He was also one of the best lieder singers of his time, as shown in his recordings of Schubert, Schumann, and Beethoven cycles, and many Loewe ballads.”

- Kurt Moses, AMERICAN RECORD GUIDE, July/Aug., 2010



"Though Mr. Prey's voice was a mellow, lyric baritone, he sang with such focused sound and robust projection that he enjoyed an active career in opera. He avoided the heavier Verdi roles, but excelled at Mozart, Gluck, Rossini, and lighter Strauss and Wagner roles. One of his great achievements was Beckmesser in Wagner's MEISTERSINGER, which he sang at the Met in 1993. To his characterization of a town clerk in medieval Nuremberg, typically portrayed as a scheming buffoon, Mr. Prey brought an emotional complexity and light-on-the-feet comic grace that made Beckmesser endearing.

Mr. Prey's voice was ideally suited to lieder, and he left a large and important discography, including songs by Schubert, Schumann, Strauss, Mahler, and Carl Loewe, a neglected 19th-century composer whom Mr. Prey championed. Commenting on Mr. Prey's 1985 recording of Schubert's WINTERREISE with the pianist Philippe Bianconi, The New York Times critic Bernard Holland wrote: ‘This is Schubert singing that does not twist sound for pictorial or dramatic effect but instead creates, with unusual musical clarity and purity of tone, a narrative voice which, though concerned and moved, tells the story first and lives it only indirectly’."

- Anthony Tommasini, THE NEW YORK TIMES, 24 July, 1998