Fanfare Magazine Nov/Dec 2009
Bob Rose schrieb in Fanfare Magazine Folgendes über diese Cd:
"In Fanfare 17:5, I reviewed a two-disc recital of Helge Roswaenge. In it I said: “Let me state unequivocally that for more than 40 years I have been an avid fan and collector of Roswaenge recordings. In my opinion he is one of the greatest tenors of the 20th century, and no serious collector should neglect him.” I have remained one of his rabid fans now for 50 years. Years ago, I collected all of the nearly complete commercial recordings on 11 LPs that were issued by LV. This issue now becomes the 13th CD in my collection. All of these recordings have been previously available, but for those who may not have all of them, it is a welcome addition.
Roswaenge was self-taught. He learned by listening to Caruso recordings. Like Caruso, he began as a lyric tenor, and then developed into a dramatic tenor, but he never lost his high notes, not even at the age of 68, when he performed in New York. The concert was recorded, and his high C still rang out with brilliance. His career was mostly confined to Germany and Austria. As was the custom in his time, although his preference was for Italian and French works, he sang and recorded them almost exclusively in German. His vocal virtuosity and interpretive authority compensated for the use of the more guttural German language. He was able, as the selections on this disc illustrate, to produce a dulcet pianissimo, a velvety mezza-voce, as well as incredibly firmly focused forte high notes.
The first selection is rare—the baritone aria prologue from I pagliacci. It is sung in German, as all the arias on this disc are. On band 3, from I vespri siciliani, he sings a duet with the great baritone Heinrich Schlusnus. The “Lodern zum Himmel” from Il trovatore exhibits his great high C. In the Faust trio, he is joined by Margarethe Teschemacher and William Streinz. One of his most famous recordings is the Postillion Lied with his ringing high D. I said in my previous review that if you listen to “Seit früheser Jungend in Kamp und Streit” from Weber’s Oberon, you will hear a vocal tour de force not even remotely approached in this music.” One could say the same about his rendition of the aria from A Life for the Tsar, with its six high Cs and a D♭. The two Hugo Wolf songs were from a project of the Hugo Wolf Society and, as the notes say, his recording of “Der Feuerreiter” was Roswaenge’s favorite.
The sound is fine; there is a booklet with interesting notes in English and German. I could go on with more superlatives, but frankly, if you do not have any of the selections on this disc in your collection, buy it. It is magnificent."