Die schöne Müllerin v Reviews

Now Available: Michael Schade's new release Die schöne Müllerin is amazing!!!

Michael Schade's much-anticipated recording of Schubert's great song cycle Die schöne Müllerin with pianist Malcolm Martineau is now available on CBC Records.

As part of his long-term commitment to Leukemia Research—following his mother's diagnosis and treatment for Acute Myelogenous Leukemia (AML)—Michael Schade is donating the proceeds of his Die schöne Mïüllerin recording to the McMaster University Centre for Neurological Disorders. Out of the highest regard for the work done at McMaster during his mother's treatment, Michael has devoted himself to assisting the centre's continued research by organizing and participating in benefit concerts.

For more information on Michael's involvement in the effort to combat Leukemia, please visit Michael Schade sings for Leukemia Research

To purchase Die schöne Müllerin on-line please visit www.cbcrecords.ca

Check out the rave reviews of Die schöne Müllerin!!!

"Schade's multicolored tenor easily handles the twenty rangy songs, from the growling and snapping of "Der Jäger" to the sweetly unfolding phrases of "Der Neugierige." He has an especially lovely way of soaring up to heady high notes, yet he can turn a smooth, elegant phrase into a roaring cry in mid-syllable. Martineau's playing is comparably colorful, with details of figuration and an arresting variety of articulation, especially in the left hand, and both artists display a highly developed sense of rubato, linguistic as well as harmonic. When Schade and Martineau come back to town, I will be first in line for tickets. Meanwhile, this terrific, inspired recording will tide me over." (Opera News, December 2005)

read the full review in Opera News

"His top end is as sweet as ever whether pianissimo or overdriving your speakers. But most truly shocking is the power and control of his baritone-ish low end. Most satisfying, however, is the skill and maturity Schade brings tos his text. The drama of the opera singer is always married to the storytelling poet in a combination so deft that contrasts such as the tender "Der Neugierige" and"Ungeduld" couldn't be more artfully breathtaking. ...It belongs on your shelf beside those by Schreier and Fischer-Dieskau." (WholeNote, September 2005)

read the full WholeNote review

"I liked this right off the bat, and with every hearing, I've grown to like it even more. SCHUBERT is rarely treated so well. SCHADE has a huge range of different colours and shades to his voice. And he's constantly changing them, to highlight the text, comment on a mood, suggest an emotion." (CBC Sound Advice, 9 July 2005)

read the full CBC Sound Advice review

"...and the German-born Canadian brings bouncy joviality to "Das Wandern," some lovely phrasing in "Pause" (its closing recitative is heartbreaking in its poignancy), ringing high as in "Ungeduld" (taken at quite a clip, but thoroughly controlled) and astonishing breath control in the difficult "Trockne Blumen." In "Danksagung an den Bach," Schade's expressive rendering of the words "Zur Müllerin hin" (the high G touched upon so delicately) is very moving, and he grips the listener's attention throughout the closing song, "Des Baches Wiegenlied," by far the longest in the cycle." (Opera Canada, Summer 2005)

read the full Opera Canada review

"Seit Fritz Wunderlich hat kein Tenor diese 20 Lieder einfacher, natürlicher, berührender, schöner gesungen. Gemeinsam mit Malcolm Martineau als mitgestaltendem Klavier-Partner gelingt es Schade, Kunstlieder wie Volkslieder vorzutragen. Der Tonfall ist schlicht, der Ausdruck changiert präzise zwischen Wehmut und Zorn, zwischen Lyrik und Dramatik. Phrasierung und Artikulation sind vorbildlich, doch nie artifiziell. Der Vortrag wirkt fast privat, doch niemals sentimental. Wunderbar."

"Since Fritz Wunderlich no tenor has sung these 20 Lieder more simply, naturally, touching and beautiful. Together with Malcolm Martineau as a collaborative partner, Michael Schade succeeds in singing art songs like folksongs. The sound is effortless, the expression changes precisely between sadness and rage, between poetry and drama. Phrasing and articulation are exemplary, never artificial. The presentation is almost private and never sentimental. Wonderful!" (Kurier, 21 August 2005)

read the full Kurier review (German and English)

Last Updated: October 10, 2006

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