PETER INFELD

            STIMMSPRÜNGE / VOCAL LEAPS
 
             CD 1                                           CD2
                  01  R. WAGNER   20:12                      01  L. v. BEETHOVEN   4:09
                        Walküre "Todesverkündigung"                    Fidelio "Vorspiel"
                  02  R. WAGNER   13:55                      02  L. v. BEETHOVEN   6:00    
                        Siegfried "Schmiedelieder"                        Fidelio "Gott, welch Dunkel hier"
                  03  R. WAGNER   33:47                      03  C. M. v. WEBER   5:54    
                        Siegfried "Heil Dir Sonne"                          Freischütz "Durch die Wälder"
                                                                                     04  G. PUCCINI   8:22
                                                                                           Manon Lescaut "Tu, tu amore"
                                                                                     05  S. GASTALDON   3:12
                                                                                           "Musica Proibita"
                 PETER INFELD     Tenor
             STEFANIE KOPINITS     Sopran
             MANFRED EQUILUTZ     Tenor  
             WOLFGANG GRÖHS     Dirigent 
             © copyright 2004 by Thomastik-Infeld Vienna DOM00004

Vocal Leaps: I would like to begin with few explanatory remarks concerning the title of my 4th CD.

I have set the barrier quite high in selecting these pieces, and this in two respects. First, the selection itself is very demanding in terms of singing technique and the rquired vocal quality, and secondly each piece requieres a different vocal approach, a different quality between the mid-range and the high points in terms of colouration and phrasing. The "Schmiedelieder" require for their general range a very thin vocal lead in the mid-range and, based on this, a radiantly convincing high-point. The "Todesverkündung" begins in a very deep baritone and increases slowlyinto the tenor range, which in terms of singing technique requires particular concentration on the transition. For the Italien repertoire these problems lie in a different transitional phase and the high tones must again be radiant and convincing.

To meet this challenge, I have worked closely with my teacher Constantin Zaharia, my voice coach Andre Roth, and my helper on piano and conductor Wolfgang Gröhs. They were constantly at my side, and for this I am extremly grateful.