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Andrè Schuen and Daniel Heide present Gustav Mahler: Lieder

The new album brings together Songs of a Wayfarer, the R&uuml;ckert-Lieder, the Kindertotenlieder and Urlicht
CAvi, a Deutsche Grammophon partner label, presents the first album devoted entirely to Mahler's songs by Andr&egrave; Schuen and Daniel Heide
The album will be released on 9 October 2026 on CD and digitally
Featuring Songs of a Wayfarer, R&uuml;ckert-Lieder, Kindertotenlieder and Urlicht. Available digitally in SD, HD and Dolby Atmos, and physically as 1 CD (Jewel Case). Gustav Mahler: Lieder - listen here: <a href="https://landing.studiocdn.com/studiocdn-web/parcels/ddeab8c9-534b-4132-88d5-a708b6d2b265">[Link]</a>
"Perhaps this is the best way to engage with Mahler: not as something we understand once and for all, but as a lifelong conversation partner." Andr&egrave; Schuen
Baritone Andr&egrave; Schuen and pianist Daniel Heide return to CAvi, the Deutsche Grammophon partner label where their recording partnership began, with their first joint album devoted exclusively to Gustav Mahler. Gustav Mahler: Lieder brings together Songs of a Wayfarer, the R&uuml;ckert-Lieder, the Kindertotenlieder and Urlicht. Following their acclaimed CAvi recordings of works by Schumann, Wolf, Martin, Beethoven, Britten and Schubert, the duo continues its exploration of the German Lied repertoire with some of Mahler&rsquo;s most significant songs for voice and piano.
The recording is the culmination of more than a decade of performing Mahler&rsquo;s songs together in recital. Over the years, Schuen and Heide have continually refined their interpretation in performance, shaping a reading that combines close attention to the text with a profound understanding of Mahler&rsquo;s emotional and philosophical world. These songs give deeply moving expression to love and loss, memory and consolation, and the search for meaning.
Recorded at the Markus Sittikus Hall in Hohenems, Austria, one of the venues of the internationally renowned Schubertiade Festival, the album reflects the intimacy of the musical dialogue between the two artists. In his personal liner notes, Schuen describes Mahler as &ldquo;a lifelong conversation partner&rdquo; &ndash; a composer whose songs sometimes offer answers while also leaving essential questions open.
Track 9, Ich bin der Welt abhanden gekommen from the R&uuml;ckert-Lieder, will be available as an Instant Grat track from 25 September 2026. The complete album will be released on 9 October 2026, on CD in a jewel case and digitally in SD, HD and Dolby Atmos. The key track is Ging heut&rsquo; morgen &uuml;bers Feld from Songs of a Wayfarer.
With Gustav Mahler: Lieder, Andr&egrave; Schuen and Daniel Heide continue an artistic exploration of Mahler developed over more than a decade, while opening a new chapter in their long-standing collaboration.

Andrè Schuen Takes a Personal Journey  Through the Music of Mozart

The singer celebrates his own longstanding history with the music of Mozart and with Salzburg in a carefully chosen programme full of intricate interconnections 
Schuen&rsquo;s repertoire features arias and duets from Don Giovanni, Le nozze di Figaro and Die Zauberfl&ouml;te, the concert aria Mentre ti lascio and works for voice and piano or mandolin
He is joined by soprano Nikola Hillebrand, pianist Daniel Heide, mandolinist Avi Avital and the Mozarteumorchester Salzburg and its Chief Conductor Roberto Gonz&aacute;lez-Monjas
Mozart comes out on 4 July 2025
&ldquo;The concept was to create an album people will really enjoy listening to from beginning to end. It should be like watching a movie&hellip;&rdquo;
Andr&egrave; Schuen
&nbsp;
&ldquo;I&rsquo;ve dreamt of recording a Mozart album since the early days of my career,&rdquo; says Andr&egrave; Schuen. In November 2024, that dream came true, when he performed a selection of the composer&rsquo;s works in Salzburg, Mozart&rsquo;s birthplace. With the baritone on stage at the Mozarteum were the Mozarteumorchester and its Chief Conductor Roberto Gonz&aacute;lez-Monjas, Schuen&rsquo;s friend since their student days at the Mozarteum University. Their interpretations, along with others recorded in studio conditions, now appear on Schuen&rsquo;s latest Deutsche Grammophon album, Mozart. The singer&rsquo;s carefully curated programme explores his long relationship with Mozart&rsquo;s music. It includes excerpts from Le nozze di Figaro, Die Zauberfl&ouml;te and Don Giovanni &ndash; with soprano Nikola Hillebrand joining him in a duet from each opera &ndash; as well as the concert aria Mentre ti lascio. Schuen performs three works for voice and piano with his longstanding duo partner Daniel Heide, with whom he has already released acclaimed recordings of Schubert&rsquo;s Die sch&ouml;ne M&uuml;llerin, Schwanengesang and Winterreise. Finally, Schuen sings &ldquo;Komm, liebe Zither&rdquo; with mandolinist and fellow DG artist Avi Avital, who can also be heard with the orchestra in the canzonetta from Don Giovanni.
Mozart will be released on CD and digitally on 4 July 2025. A new production of Don Giovanni, directed by Robert Icke, conducted by Sir Simon Rattle and starring Andr&egrave; Schuen in the title role, opens on the same date at the Aix-en-Provence Festival. The duet &ldquo;L&agrave; ci darem la mano&rdquo; from that opera, featuring Nikola Hillebrand as Zerlina, will be released as a first digital single from the album on 23&nbsp;May. Schuen&rsquo;s recording of Abendempfindung with Daniel Heide will follow on 13&nbsp;June.
In the notes he has written to accompany the album, Andr&egrave; Schuen discusses his choice of repertoire. &ldquo;I didn&rsquo;t just want to present a list of Mozart&rsquo;s arias for baritone and bass,&rdquo; he explains. &ldquo;Instead I wanted to create interesting links and transitions that would draw the listeners in and establish a dramatic arc for the sequence as a whole.&rdquo;
The first of the many strands in the album&rsquo;s web of connections is autobiographical. Figaro was Schuen&rsquo;s first major operatic role, so the album had to start with two of that character&rsquo;s arias (&ldquo;Non pi&ugrave; andrai&rdquo; and &ldquo;Aprite un po&rsquo; quegl&rsquo;occhi&rdquo;). Later, he switches role and sings Count Almaviva&rsquo;s duet with Susanna and &ldquo;Hai gi&agrave; vinta la causa&rdquo; in an extended excerpt from Le nozze di Figaro.
There is a similarity in character, meanwhile, between the recitative that introduces &ldquo;Aprite un po&rsquo;&rdquo; and the two numbers that follow &ndash; Mentre ti lascio, and the intimate Abendempfindung. The latter, as Daniel Heide points out, has to be sung &ldquo;very soulfully&rdquo;, which Schuen amply succeeds in doing.
The excerpts from the masonic-themed opera Die Zauberfl&ouml;te are introduced by &ldquo;Die ihr des unermesslichen Weltalls Sch&ouml;pfer ehrt&rdquo;, a short cantata intended for masonic use. By contrast, the romantic setting of a garden links the lyrics of Das Traumbild with the duet from Le nozze di Figaro in which Almaviva entreats Susanna to meet him in his mansion&rsquo;s grounds that evening.
The sweet sound of the mandolin connects the song &ldquo;Komm, liebe Zither&rdquo; to the canzonetta &ldquo;Deh, vieni alla finestra&rdquo;, the first in the album&rsquo;s final sequence of three extracts from Don Giovanni. Avi Avital observes that these are two of just three pieces Mozart ever wrote for the instrument, despite its popularity in his day. In the canzonetta, he adds, &ldquo;it&rsquo;s a symbol of the purity and sweetness of the young lady Don Giovanni wants to lure to her window!&rdquo;
There are further links and transitions to be discovered here, but the central thread that runs through the album is of course Andr&egrave; Schuen&rsquo;s voice. &ldquo;The first time I listened to Andr&egrave; we were both students here in Salzburg,&rdquo; recalls Roberto Gonz&aacute;lez-Monjas. &ldquo;It made me realise what an extraordinary vehicle for emotion the voice is. That was Andr&egrave;. He&rsquo;s unique &ndash; what he does transcends technique or intelligence, it&rsquo;s everything together.&rdquo;

Andrè Schuen Sings Schubert’s Winterreise

Baritone Andr&egrave; Schuen began his Deutsche Grammophon career in 2020 with a critically acclaimed reading of Schubert&rsquo;s Die sch&ouml;ne M&uuml;llerin, recorded with his longstanding duo partner Daniel Heide. In 2022, the pair added Schwanengesang to their discography, a recording that went on to win the Solo Song category in the 2023 OPUS KLASSIK Awards. Now they complete their trilogy of Schubert&rsquo;s major song cycles with a thoughtful and moving interpretation of the 24&nbsp;inward-looking songs that make up the composer&rsquo;s Winterreise. Recorded at the Markus-Sittikus-Saal in Hohenems, the album is scheduled for release digitally and on CD on 17&nbsp;May 2024. Two of the songs will be issued as singles: &ldquo;Fr&uuml;hlingstraum&rdquo; on 29&nbsp;March and &ldquo;Der Leiermann&rdquo; on 26&nbsp;April.
For many, Winterreise is the alpha and omega of the Lieder repertoire. As Andr&egrave; Schuen says, it is quite simply &ldquo;the first work that comes to mind when you talk about Lieder&rdquo;. Having already set texts by Wilhelm M&uuml;ller for Die sch&ouml;ne M&uuml;llerin, Schubert again found inspiration when, in 1827, just a year before his death, he read the poet&rsquo;s two sets of 12 poems about a rejected lover whose grief drives him to steal away one winter&rsquo;s night, accompanied only by his own shadow in the moonlight. The protagonist&rsquo;s anguish is mirrored by the frozen countryside, cloudy skies and snow storms he encounters as he keeps walking, as summed up in &ldquo;Der st&uuml;rmische Morgen&rdquo; (A Stormy Morning): &ldquo;My heart sees in the sky/its own painted portrait;/it is nothing but winter,/winter chill and savage.&rdquo;
Unlike Die sch&ouml;ne M&uuml;llerin, with its hope-to-despair narrative, Winterreise is overshadowed by heartbreak from the start. The first song, &ldquo;Gute Nacht&rdquo; (Good Night), explains something of the narrator&rsquo;s lost love and his need hereafter to follow a &ldquo;path veiled in snow&rdquo;. Andr&egrave; Schuen, who grew up in the South Tyrolean Dolomites and is therefore no stranger to stark wintry snowscapes, points to the way in which the poems then switch between movement and stasis. &nbsp;&ldquo;There are scenes where time seems to stand completely still, states of mind that are in tune with the frozen nature of winter,&rdquo; says the singer. &ldquo;Then again, it moves on and on.&rdquo;
Much of the music is declamatory in style, and Schuen performs it with a restraint that serves to heighten the pervading sense of melancholy, supported throughout by the equally brilliant pianism of Daniel Heide. Together the duo convey the nostalgia for the sense of peace once experienced in the shade of &ldquo;Der Lindenbaum&rdquo; (The Lime Tree); the dashed hopes expressed in &ldquo;Fr&uuml;hlingstraum&rdquo; (A&nbsp;Dream of Springtime); the chilling realisation in &ldquo;Der Wegweiser&rdquo; (The Signpost) that only one road lies open to the narrator, and so on, until the final encounter with the mysterious &ldquo;Leiermann&rdquo; (The Organ Grinder). &ldquo;My assumption,&rdquo; says Andr&egrave; Schuen, &ldquo;has always been that he stands for death.&rdquo;
Having performed Winterreise together many times, he and Heide have developed a freer approach to the emotional course it runs. &ldquo;In the early years,&rdquo; notes the singer, &ldquo;I tried to set the route beforehand and plan precisely how I wanted to shape this or that point. Nowadays I experience this cycle much more in the moment, and am ready for everything surprising and unexpected that can arise on the journey.&rdquo;
This recording&nbsp;of&nbsp;Winterreise&nbsp;also forms the soundtrack for the&nbsp;live-action/animation&nbsp;feature film&nbsp;A Winter&rsquo;s Journey, inspired by Franz Schubert&rsquo;s music and Wilhelm M&uuml;ller&rsquo;s poems. Writer and director Alex Helfrecht felt compelled to make the film after being rendered speechless by the music&rsquo;s power and beauty. She set out to bring it to the big screen in a way that does justice to this magnificent work. By filming live actors in epic sets and immersive landscapes before painting over each frame, the film has the look of early 19th-century German Romantic paintings come to life, while retaining all the emotive power of the actors&rsquo; performances. A beautiful cinematic and musical spectacle full of emotion and drama starring John Malkovich, Marcin Czarnik, Gabriella Moran, Martina Gedeck, Jason Isaacs and &Oacute;lafur Darri &Oacute;lafsson.

Songs of Love and Loss: Andrè Schuen and Daniel Heide perform Schubert's 'Schwanengesang'

Andr&egrave; Schuen&rsquo;s debut album for Deutsche Grammophon, a moving interpretation of Schubert&rsquo;s Die sch&ouml;ne M&uuml;llerin, received widespread critical acclaim, with Gramophone praising the baritone&rsquo;s &ldquo;superb, free-ranging voice, used with taste and invariable sensitivity to the text&rdquo;. Now Schuen continues his personal journey into the composer&rsquo;s late, great song cycles with a new recording of Schwanengesang (Swan Song), on which he is joined once more by his longstanding duo partner Daniel Heide, hailed in turn by Gramophone for his &ldquo;model&rdquo; accompaniment and &ldquo;limpid playing&rdquo;. Heide&rsquo;s subtle pianism again complements Schuen&rsquo;s insightful interpretations as together they project the beauty and pathos, drama and despair of the fourteen Schwanengesang Lieder. The album is set for release on 18 November 2022 on CD and digitally, including an immersive Dolby Atmos version.
Schubert completed the last of what would prove to be his final songs just over a month before his death in November 1828. Seven of the poems he chose to set at this time are by Ludwig Rellstab, six by Heinrich Heine and one, (&ldquo;Die Taubenpost&rdquo;), by the Austrian polymath Johann Gabriel Seidl. It seems likely that he expected the Rellstab and Heine songs to be published separately; however, the Vienna-based composer and publisher, Tobias Haslinger, aware of their posthumous significance as Schubert&rsquo;s last musical testament, issued them in 1829 under the title Schwanengesang.
Andr&egrave; Schuen discovered the collection long before he became a professional singer, and was swept away by its contents. &ldquo;I remember a recording with Dietrich Fischer-Dieskau that I played over and over again,&rdquo; he says, adding that Schwanengesang is still his &ldquo;greatest love among the Schubert Lieder. Especially the Heine settings.&rdquo;
This is perhaps because, although Schwanengesang is more compilation than narrative cycle, with the Rellstab songs dealing with different aspects of romantic longing and loss, the outline of a story does emerge in Schubert&rsquo;s choice of Heine poems. &ldquo;There are indeed parallels with Die Winterreise and Die sch&ouml;ne M&uuml;llerin,&rdquo; notes the singer. &ldquo;Here, too, we find an abandoned figure who has left home and forged his way into emotional and psychological borderlands. Sometimes, as in &lsquo;Ihr Bild&rsquo;, reality and fiction begin to blur.&rdquo; The Heine songs are also notable for their economy of means, reflecting the sparse style of the poet. &ldquo;There&rsquo;s not one note too many!&rdquo; says Schuen, who has a particular fondness for the melancholy seascape depicted in &ldquo;Am Meer&rdquo;. &ldquo;It&rsquo;s a perfect symbiosis of words and music, of Heine and Schubert,&rdquo; he explains. &ldquo;It&rsquo;s perhaps my favourite Schubert song altogether.&rdquo;
Schuen and Heide developed and refined their interpretation of Schwanengesang in acclaimed recital performances before coming to the Markus-Sittikus-Saal in Hohenems to record the work in March 2021. The baritone is unstinting in his praise for his duo partner: &ldquo;Not only is he a fantastic pianist, he&rsquo;s also a seasoned connoisseur of the human voice. To me this makes all the difference, his enthusiasm for colour, for the aesthetic of a voice, always in search of the magical moment and never avoiding risks.&rdquo;

DG Podcast meets Andrè Schuen

In der aktuellen Podcast-Folge, die ganz im Zeichen der Zeit &uuml;ber Zoom stattfindet, spricht Sarah Willis mit dem jungen Bariton Andr&egrave; Schuen. Seine Stimme begeistert sie, seine klare Artikulation beeindruckt sie und &uuml;berhaupt ist der S&auml;nger ein sehr sympathischer Gespr&auml;chspartner f&uuml;r die aufgeweckte Moderatorin.

Deutsche Grammophon Podcast host Sarah Willis welcomes baritone Andr&egrave; Schuen to this episode. She is impressed by the voice, the articulation and the versatility of the young baritone who was born in South Tyrol speaking three languages as his mother tongue: German, Italian and Ladin. They talk about his impressive DG debut album of Schubert&rsquo;s song cycle &bdquo;Die sch&ouml;ne M&uuml;llerin&ldquo;- accompanied by Daniel Heide - art songs, the programming of recitals and many more fascinating aspects

Musical Moments – Andrè Schuen sings Schubert

&ldquo;Musical moments&rdquo; can be moments of memories or reflection, a retrospect of the past or an anticipation of the future, that are enriched by hearing or thinking of a special piece of music in that same moment. Further artists in the series include Daniel Barenboim, Yuja Wang, Nadine Sierra, Avi Avital and Albrecht Mayer just to name a few.
As an interpreter of Classical Song, South-Tyrolean baritone Andr&egrave; Schuen has few equals in the scene. His clear and recognizable sound, with an emphasis on lyrical qualities and subtle vibrato, is said to be one of the most valued assets in the classical world for bringing Lieder to a 21st century audience. Franz Schubert&rsquo;s famous Litanei makes for a convincing case as Andr&egrave; Schuen&rsquo;s version, accompanied by long-term partner Daniel Heide on piano, reveals the melancholy work of an early singer-songwriter in all its heartfelt naturalness.

Andrè Schuen announces debut album on Deutsche Grammophon

Seit August 2020 ist Andr&egrave; Schuen bei Deutsche Grammophon unter Vertrag. Am 5. M&auml;rz erscheint nun sein Deb&uuml;talbum beim gelben Label, f&uuml;r das der Bariton zusammen mit Daniel Heide Schuberts "Die sch&ouml;ne M&uuml;llerin" aufgenommen hat. Das Album kann ab sofort vorbestellt werden.

Andr&egrave; Schuen releases his debut album on DG after signing as an exclusive artist in 2020. Together with his partner pianist Daniel Heide, he performs Schubert&rsquo;s Die sch&ouml;ne M&uuml;llerin. Andr&egrave; and Daniel have been performing together since Andr&egrave;&rsquo;s early twenties, next to their stellar musical performance they are sparking with enthusiasm and wit in conversation with each other and the audience.
Schubert&rsquo;s song cycle Die sch&ouml;ne M&uuml;llerin, written almost two hundred years ago, is one of the supreme tests of the lieder singer&rsquo;s art.&nbsp;South Tyrolean baritone Andr&egrave; Schuen &ndash; praised by Opera Today for the &ldquo;intelligence and sensitivity&rdquo; of his lieder singing &ndash; has performed it several times in recent years with his long-term recital partner Daniel Heide, and the duo have spent countless hours contemplating the meaning of its 20 songs.&nbsp;
Andr&egrave; Schuen&rsquo;s Die sch&ouml;ne M&uuml;llerin combines meticulous preparation with striking spontaneity. He and Daniel Heide revelled in the opportunity to explore each song in the studio, taking risks to produce the most tender sounds and richest variety of tone colours. They give life to the story of a young miller who wanders the countryside in search of work and sees his carefree world transformed when he discovers a brook, follows it to the local mill and falls for its owner&rsquo;s beautiful daughter. When his love remains unrequited, however, tragedy ensues.
Schubert&rsquo;s cycle, notes Schuen, is life-affirming and joyful almost to its midpoint. When the miller realises that his love is not reciprocated, his optimistic mood declines into the darkness of suicidal thoughts. This contrast of course requires a nuanced vocal range. &ldquo;I didn&rsquo;t want to wait too long before recording Die sch&ouml;ne M&uuml;llerin because voices tend to get darker and heavier with age,&rdquo; says Schuen. &ldquo;By recording it now, while I&rsquo;m relatively young, I can still bring many light colours to the music as well. The piece makes no sense to me without them.&rdquo;
Heide, meanwhile, believes that because it&rsquo;s the closest to the male speaking voice, the baritone pitch lends itself particularly well to the narrative aspect of Die sch&ouml;ne M&uuml;llerin: &ldquo;It has a warmth and ease that make you hang on every word.&rdquo;
Both Schuen and Heide feel it&rsquo;s impossible for artists today to be unaware of existing recordings. And as the pianist explains, much of their research is done on the road: &ldquo;We have a kind of ritual &ndash; whoever&rsquo;s not driving takes charge of the music and we can spend eight or nine hours comparing different versions of a particular work. It&rsquo;s like a kind of rehearsal, because we analyse every aspect, but in the end, our approach is always different from anything we&rsquo;ve listened to.&rdquo;
Schuen agrees: &ldquo;Of all the many recordings of Die sch&ouml;ne M&uuml;llerin we&rsquo;ve heard, the role model and inspiration for me remains Fritz Wunderlich&rsquo;s for Deutsche Grammophon, but because he was a lyric tenor, I can&rsquo;t fall into the trap of copying him.&rdquo;
Die sch&ouml;ne M&uuml;llerin was one of the first song cycles to exploit the interplay of voice and piano to illustrate poetic imagery and create a genuine partnership between singer and pianist. Heide explains something about the way he and Schuen work together: &ldquo;As accompanist, you have to know the songs very well from the singer&rsquo;s perspective, you have to know the lyrics, where it&rsquo;s possible to take a breath. I love Andr&egrave;&rsquo;s clarity of breath &ndash; he allows me to guess when and how a note will sound, and also how long a phrase will last. And the security we&rsquo;ve developed over ten years allows us to be spontaneous on stage.&rdquo;
Critics have been swift to praise the pair&rsquo;s Schubert interpretations. Their recital of Schwanengesang, given at the 2019 Schwarzenberg Schubertiade, prompted forumopera.com to commend the baritone&rsquo;s &ldquo;beautifully timbred voice, as warm as embers, as easy to drink as good wine&rdquo;, while their account of Winterreise at Munich&rsquo;s Prinzregententheater in February 2020 inspired the S&uuml;ddeutsche Zeitung&rsquo;s reviewer to conclude that both singer and pianist &ldquo;were convincing in every respect, as they shaped [the work] in a multi-faceted, yet always natural way&rdquo;.
And that naturalness, says Schuen, is something very important to both him and Heide when it comes to shaping an interpretation of a work such as Die sch&ouml;ne M&uuml;llerin. It was a quality they were determined to bring to their recording: &ldquo;The biggest difficulty in the studio is actually producing the natural flow you get on stage, so that you achieve that sense of contemplation.&rdquo; Their awareness of that difficulty, however, combined with their long experience of performing the work together and interacting with audiences, has enabled singer and pianist to brush it aside and bring every emotional nuance of Schubert&rsquo;s masterpiece vividly and naturally to life.
The album will be released 5 March 2021 and is ready for pre-order now. Listen to the first pre-release track Schubert: Die sch&ouml;ne M&uuml;llerin op. 25 D 795 - 20. Des Baches Wiegenlied now!

The Power of Song - South Tyrolean baritone Andrè Schuen  joins Deutsche Grammophon

Deutsche Grammophon is delighted to have signed an exclusive agreement with Andr&egrave; Schuen. The announcement coincides with the 35-year-old baritone&rsquo;s appearance as Guglielmo in Cos&igrave; fan tutte at this summer&rsquo;s Salzburg Festival. His Yellow Label debut album, a recording of Schubert&rsquo;s Die sch&ouml;ne M&uuml;llerin, is set for release next spring, in time to accompany his scheduled performances of the work in Germany, Austria, Spain and Poland. This will be followed by albums featuring Schubert&rsquo;s Winterreise and Schwanengesang. Andr&egrave;&rsquo;s interpretation of &ldquo;Ungeduld&rdquo; from Die sch&ouml;ne M&uuml;llerin will be released on 7&nbsp;August as part of Musical Moments, the innovative series which was launched by Deutsche Grammophon last May to present new tracks from the world&rsquo;s leading classical musicians.
Praised by Opera Today for the &ldquo;intelligence and sensitivity&rdquo; of his lieder singing and by the Frankfurter Rundschau for his &ldquo;unreservedly wonderful voice&rdquo;, Andr&egrave; Schuen is in high demand in opera and as a concert performer. During the 2020-21 season he will sing Mozart&rsquo;s Guglielmo and Papageno at the Bayerische Staatsoper, and the title-role in Eugene Onegin, Marcello in La boh&egrave;me and the Count in Le nozze di Figaro at the Wiener Staatsoper, as well as giving song recitals at the Schubertiade at Hohenems and Schwarzenberg. Past highlights include Bach&rsquo;s Christmas Oratorio with the Boston Symphony Orchestra and Andris Nelsons, Die sch&ouml;ne M&uuml;llerin and Schwanengesang at the Schubertiade, and the title-role in the world premiere of Anno Schreier&rsquo;s Hamlet at Vienna&rsquo;s Theater an der Wien.
&ldquo;It is a true pleasure to welcome Andr&egrave; to the Yellow Label,&rdquo; comments Dr Clemens Trautmann, President Deutsche Grammophon. &ldquo;He is a wonderful musician and natural communicator, with an artistic soul that speaks directly to the emotions. Andr&egrave;&rsquo;s profound feeling for words and their poetic expression places him in the line of great lieder interpreters, which fits so well with DG&rsquo;s commitment to song. He has also made his mark as an opera singer with his rich, warm voice, tremendous stage presence and charisma. We look forward to developing projects that cover Andr&egrave;&rsquo;s wide repertoire and introducing this wonderful singer to new listeners worldwide.&rdquo;
Andr&egrave; Schuen is excited about the prospect of building compelling programmes with the Yellow Label. &ldquo;It is a great honour for me to join Deutsche Grammophon&rsquo;s family of artists,&rdquo; he notes. &ldquo;Following in the footsteps of so many giants, I feel inspired by the company&rsquo;s remarkable history and creative energy. I believe there is a hunger now for what song and opera have to offer the human spirit, and am delighted that DG is determined to enable as many people as possible to experience this transcendent music.&rdquo;
Born and raised in the Ladin area of La Val (South Tyrol, Italy), Andr&egrave; Schuen speaks three native languages: Italian, German and Ladin. Music was and remains central to Schuen family life. Andr&egrave; studied cello as a child and, in 2009, formed an ensemble with his father, mother, two sisters and a cousin to perform Ladin folk music. Having spent years focusing on the cello, he then decided to train as a singer. He won a place at the Salzburg Mozarteum, where he studied with Horiana Branisteanu and with Wolfgang Holzmair (lieder and oratorio), as well as participating in masterclasses with Kurt Widmer, Sir Thomas Allen, Brigitte Fassbaender, Romualdo Savastano and Olaf B&auml;r.
After graduating with distinction in 2010, Schuen earned critical acclaim as one of the few singers to appear throughout Nikolaus Harnoncourt&rsquo;s cycle of Mozart&rsquo;s Da Ponte operas at the Theater an der Wien, where he sang the roles of Figaro, Don Giovanni and Guglielmo. The baritone&rsquo;s partnership with pianist Daniel Heide has flourished in concert and on disc, while he has also given critically acclaimed recitals with Thomas Ad&egrave;s and Andreas Haefliger.

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Title

MAHLER Lieder / Andrè Schuen, Daniel Heide

Mahler: Lieder

Lieder eines fahrenden Gesellen R&uuml;ckert Lieder Kindertotenlieder&nbsp;

Recording on our partner label CAvi Music, baritone Andr&eacute; Schuen and pianist Daniel Heide release their album devoted entirely to songs by Mahler.
On the project, the outstanding Lied duo presents the culmination of more than a decade of performing Mahler together in recital. Featuring the composer&rsquo;s major works for voice and piano, the album reflects an interpretation shaped by years of shared concert experience.
Following their acclaimed Schubert recordings, Schuen and Heide continue their exploration of the German Lied repertoire with Mahler&rsquo;s Songs of a Wayfarer, R&uuml;ckert-Lieder, Kindertotenlieder and Urlicht, recorded in the Markus Sittikus Hall in Hohenems, one of the venues of the internationally renowned Schubertiade Festival.
In personal liner notes, Schuen reflects on Mahler as &ldquo;a lifelong conversation partner&rdquo;, offering a unique insight into the artistic vision behind the recording and the duo&rsquo;s long-standing engagement with the composer&rsquo;s music.
The album is available digitally and on CD.&nbsp;Order the CD edition in the <a href="https://store.deutschegrammophon.com/de-de/products/andre-schuen-mahler-lieder-eines-fahrenden-gesellen-ruckert-lieder-kindertotenlieder-cavi-120316?_pos=6&amp;_sid=0a9c16b1a&amp;_ss=r">DG Store.</a>

Andrè Schuen - News | Deutsche Grammophon

News