WUNDERLICH Life and Legend DVD-VIDEO

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FRITZ WUNDERLICH
Leben und Legende
Life and Legend

Int. Release 18 Sep. 2006
1 DVD-Video
DVD-VIDEO NTSC 0440 073 4202 2 GH PCM STEREO
Picture Format: 4:3 · Colour / Black & White
Subtitles: German/English/French/Spanish
A production of Loopfilm GmbH / Wunderlich Medien GbR
in coproduction with Deutsche Grammophon, ORF, SF, Classica, Unitel
in collaboration with ARTE / SWR / BR
DG proudly presents the first full-length DVD documentary on the illustrious tenor Fritz Wunderlich


Lista de temas

Wolfgang Amadeus Mozart (1756 - 1791)
Die Entführung aus dem Serail, K.384

Ouvertüre

1.
0:16

Hans-Peter Bögel, Fritz Wunderlich, Anneliese Rothenberger, Thomas Hampson, Rolando Villazón, Christa Ludwig

Hans-Peter Bögel, Fritz Wunderlich, Peter Karger, Eva Wunderlich, Emmerich Smola

Hans-Peter Bögel, Fritz Wunderlich, Emmerich Smola, Margarethe von Winterfeldt, Eva Wunderlich

Hans-Peter Bögel, Fritz Wunderlich, Ruth-Margret Putz, Achim Thorwald

Hans-Peter Bögel, Fritz Wunderlich, Ruth-Margret Putz, Eva Wunderlich

Hans-Peter Bögel, Fritz Wunderlich, Christa Ludwig, Joachim Kaiser, Karl Löbl

Hans-Peter Bögel, Fritz Wunderlich, Hermann Prey, Eva Wunderlich, Brigitte Fassbaender, Peter Karger

Hans-Peter Bögel, Fritz Wunderlich, Brigitte Fassbaender

Hans-Peter Bögel, Fritz Wunderlich, Rolf Reinhardt, Hermann Prey, Hubert Giesen, Eva Wunderlich, Rolando Villazón, Dietrich Fischer-Dieskau

Hans-Peter Bögel, Fritz Wunderlich, Karl Löbl, Eva Wunderlich, Peter Karger

Hans-Peter Bögel, Fritz Wunderlich, Karl Löbl, Rolando Villazón, Walter Hagen-Groll, Hedwig Wimmer, Eva Wunderlich

Hans-Peter Bögel, Fritz Wunderlich, Anneliese Rothenberger, Dietrich Fischer-Dieskau, Eva Wunderlich

Hans-Peter Bögel, Fritz Wunderlich, Peter Karger, Eva Wunderlich, Thomas Hampson

Tiempo total de reproducción 58:15

Many interesting snippets are included . . . The film flows well enough . . . What we have is an interesting picture of one admirable tenor . . . It should entice more than the tenor's admirers.

. . . wenn es um die Beschreibung der Stimme geht, um das Besondere, das Einzigartige der vokalen Physiognomie, fällt das Urteil so einheitlich wie eindeutig aus: Niemand habe je die Natürlichkeit, die (scheinbare) Naivität, die ungezwungene clarté erreicht, die den Gesangsstil Wunderlichs so unverkennbar charakterisierten. Brigitte Fassbaender, einst seine Kollegin im Ensemble der Bayerischen Staatsoper, umriss das Phänomen so: "Er hatte ein Timbre, das einem unmittelbar zu Herzen ging. Er sang immer, als sei es das letzte Mal." . . . Das Bild des hochbegabten, gleichwohl unkomplizierten Künstlertyps, an dem alle Hysterien und Exzentrizitäten des Musikbetriebs abperlten, bestätigen auch die zu Wort kommenden Zeitzeugen. . . stets wirkt Wunderlich so präsent, als sei er eben erst aus dem Leben gerissen worden . . . Die Magie des mühelos strömenden Wunderlich-Tons -- sie bleibt auch vier Jahrzehnte nach seinem frühem Tod ein Geheimnis.

. . . eine sehenswerte Dokumentation.

Dank der Weitsicht des Autorenteams verliert sich der Film nicht in privaten Details, sondern zeigt die vielen Gesichter des Tenors . . . Gut gewählte Musik-Ausschnitte und unaufdringliche Spielszenen (u.a. beim Treppensturz) helfen, die Lücken der Imaginationskraft zu füllen. Der dramaturgisch gut gebaute, teilweise sehr berührende Film wird in der vorliegenden DVD-Version durch umfangreiches Bonus-Material ergänzt . . . Um es mit Rolando Villazón zu sagen: "Er klingt so aktuell. Wenn man ihn den Leuten vorspielen würde, die ihn nicht kennen, würden sie sagen: wo singt der Mann, wo kann ich ihn hören?"

Hier wird schlagartig klar, was die einmalige Faszination Wunderlichs ausmacht. Anneliese Rothenberger hat schon Recht: Wunderlich war der Beste, einen Nachfolger gibt es bis heute nicht.

. . . de nombreuses archives familiales le rendent intensément émouvant.

. . . phénoménale: deux moments d'un Maestro di musica de Pergolèse de Vienne 63, d'un toupet vocal, d'une vaillance exubérante, qui justifie le témoignage de Villazón, merveilleux de sympathie et de compréhension admirative. Car c'est surtout des témoignages qu'on a recueillis ici . . . Le plus intéressant, c'est évidemment la veuve de Wunderlich qui nous le livre: vue d'intimité toutes simples. Leçon de simplicité et de vérité, qui ne cherche pas à cacher que le Wunderlich "liedersänger" n'était encore qu'au seuil de sa recherche, et qui laisse paraître les minuscules pailles de legato qui déjà menaçaient imperceptiblement la tenue de la voix du Bon Dieu.
As Real a Presence Today as in His Own Lifetime

New releases to mark Fritz Wunderlich's 75th birthday
Lovers of classical music hardly need reminding that the label "bestseller" is no guarantee of artistic quality. But when a live recording of a song recital from 1966 can maintain its place in the classical charts' Top Ten for a whole six months in spite of its less than perfect sound quality, we are certainly entitled to speak of a minor sensation.

Not even the tenor's most ardent admirers would have thought that Fritz Wunderlich's final lieder recital ("The Last Recital", DG CD 9806790) would be in the bestseller lists for more than twenty-eight weeks. At best it can have been only insiders and fans who knew that the legendary singer had achieved new heights of expression at the recital that he gave on 4September 1966, only thirteen days before his death from a tragic accident. So how can we explain the fact that almost forty years later Fritz Wunderlich is as real a presence now as he was in his own lifetime - not only on record shelves but in the awareness of a broad range of listeners?

Jens Malte Fischer has described the Wunderlich phenomenon on the radio in arguably more detail than any other commentator. For him, the singer's appeal boils down to the fact that his recordings "still speak to us today as directly as if they had been recorded yesterday. They have an immediacy, an aura and a sense of life and freshness that are unique. How else can we explain the fact that even young people who have no direct memory of the singer are attracted to him and to his voice as though he were still alive and singing today?"

Listeners can discover this for themselves by means of three new recordings that Deutsche Grammophon is issuing to mark what would have been the singer's 75th birthday on 26 September 2005:


Original Masters: The Art of Fritz Wunderlich (7 CDs)

This is the most comprehensive compilation of Fritz Wunderlich's recordings to have been issued so far. It covers the whole range of this phenomenally versatile singer's repertory, from Handel to Puccini, from Die Zauberflöte to Gräfin Mariza, from Bach's St Matthew Passion to Schumann's Dichterliebe and from An die Musik to Granada. At the same time, these seven CDs also document Fritz Wunderlich's artistic and vocal development during the eleven years of his professional career: from his first recording for Deutsche Grammophon (Monteverdi's L'Orfeo in 1955) and radio rarities of 1956 to his 1966 recording of Viennese songs under Robert Stolz and his final recording of operatic excerpts from Eugene Onegin and Zar und Zimmermann.


The Magic of Wunderlich (2 CDs + DVD)

A mixture of Wunderlich highlights and rarities, this release is an ideal way of getting to know the singer, but it will also be of interest to collectors: alongside his recording of Strauss songs under Jan Koetsier, they will also find previously unreleased treasures from the archives of the Bavarian State Opera in Munich - Wunderlich in Don Ottavio's scenes from a 1963 Don Giovanni and the Italian Singer's aria from Der Rosenkavalier recorded in 1966. The bonus DVD, too, contains much of interest to Wunderlich's fans in the form of highlights from television broadcasts of Rossini's Il barbiere di Siviglia recorded in Munich in 1959 and Tchaikovsky's Eugene Onegin recorded in Munich three years later.

A television rarity: Rossini's Barbiere from the Cuvilliéstheater (DVD)

The 1959 Munich Barbiere with Fritz Wunderlich, Hermann Prey, Erika Köth and Hans Hotter is a recording of incalculable value for music lovers and eyewitnesses alike, a pioneering feat from the infancy of live broadcasting and at the same time a plea for the standards of good old ensemble opera. But even lovers of classical music who have no personal memories of this production will enjoy it: in spite of its "historical" look, the distinguished ensemble under the direction of Joseph Keilberth offers a feast of comic acting and spontaneity that is a sheer delight.

Thomas Voigt

7/2005