Schubert: Schwanengesang - Le Chant Du Cygne Thomas Dolié & Olivier Godin

• Franz Schubert (1797 - 1828):
• 1 Fischerweise, D. 181 03:06
• 2 Ganymed, D. 544 04:11
• 3 Erkölnig, D. 328 04:19
• 4 Rastlose Liebe, D. 138 01:18
• 5 Der Einsame, D. 800 04:22
• Schwanengesang, D. 957:
• 6 Schwanengesang, D. 957: I. Liebesbotschaft 02:51
• 7 Schwanengesang, D. 957: II. Kriegers Ahnung 05:15
• 8 Schwanengesang, D. 957: III. Frühlingssehnsucht 03:23
• 9 Schwanengesang, D. 957: IV. Ständchen 04:30
• 10 Schwanengesang, D. 957: V. Aufenthalt 03:13
• 11 Schwanengesang, D. 957: VI. In der Ferne 06:53
• 12 Schwanengesang, D. 957: VII. Abschied 04:35
• 13 Schwanengesang, D. 957: VIII. Der Atlas 02:31
• 14 Schwanengesang, D. 957: IX. Ihr Bild 03:07
• 15 Schwanengesang, D. 957: X. Das Fischermädchen 02:11
• 16 Schwanengesang, D. 957: XI. Die Stadt 03:12
• 17 Schwanengesang, D. 957: XII. Am Meer 04:12
• 18 Schwanengesang, D. 957: XIII. Der Doppelgänger 05:59
• 19 Schwanengesang, D. 957: XIV. Die Taubenpost 03:49
• Total Runtime 01:12:57

Info for Schubert: Schwanengesang - Le Chant Du Cygne

The encounter between French baritone Thomas Dolié and Quebec pianist Olivier Godin gave rise to a magnificent collaboration around Franz Schubert's Schwanengesang cycle. First given in recital at the Bourgie Hall in Montreal in 2016 and then recorded in the same hall a year later.

This recording will be released on Friday, 10 May 2019 under the label Klarthe Records and is co-produced by RSB artists with the support of Adami, the Bourgie Hall and Pro Arti contributors.

To the two collections of songs found after Schubert's death, the publisher Haslinger added a fourteenth song and gave the ensemble the title The Song of the Sign. A false cycle, but a true immersion in the intimacy of the composer's last moments, nostalgic, heartbreaking, desperate and finally peaceful, it is this journey that the performers retrace here, on a miraculously preserved Erard piano from 1859, bringing a unique perspective to this masterpiece.

After a season marked by his debut at the Opéra de Paris as Ramiro (Ravel's L'Heure espagnole), or his role as Golaud (Pelléas et Mélisande) in Bremen (Germany) with the Deutsche Kammerphilharmonie, Thomas Dolié plays on 2018/2019 the role of Fritz (Korngold's Die Tote Stadt) at the Théâtre du Capitole in Toulouse, the roles of Hermann and Schlemil (Les Contes d'Hoffmann) at the Musikfest Bremen with Marc Minkowski's Musiciens du Louvre, the role of Hylas (Issé by Destouches) with the ensemble Les Surprises at the Festival de Musique Baroque de Pontoise and the Opéra royal de Versailles; he also returns to the role of Ramiro (L'Heure espagnole) alongside conductor François-Xavier Roth in Les Siècles in Aix-en-Provence, Evian-les-bains, Grenoble and Soissons, as well as at the Barbican Center in London with the London Symphony Orchestra, singing Bach's Johannes Passion with the Accentus choir and Insula Orchestra at the Seine Musicale, Mahler's Lieder eines farhenden Gesellen at the Limoges Opera, takes over the role of Theseus (Lemoyne's Phèdre) at the Metz Arsenal and the Limoges Opera and continues his collaboration with conductor György Vashegyi, the Orfeo Orchestra and the Centre de Musique baroque de Versailles, singing, still in Budapest, the roles of Danaüs (Gervais' Hypermnestre) and Phinée (Montéclair's Jephté). <

Thomas Dolié, baritone
Olivier Godin, piano

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