When boy soprano
Peter Schreier's voice changed, he didn't abandon music, but rather followed his voice into the tenor repertoire. But while his voice deepened, it didn't darken;
Schreier became a quintessential light tenor, a tenor with a pleasant, sincere, and small voice. Wisely,
Schreier did not strain his voice by attempting repertoire too big for him, but rather stuck with what worked best for him, repertoire that required a supple technique, interpretive sensitivity, and above all, consummate musicianship: Romantic Lieder. In this, the first of three volumes of
Beethoven's songs,
Schreier's voice is small but beautiful and deeply expressive. The intimacy and passion of
Schreier's voice make his An die ferne Geliebte, Op. 98, among the best ever recorded. The tenderness and insights of
Schreier's voice make his
Goethe Lieder among the most satisfying ever recorded. And although listeners used to
Fischer-Dieskau's huge voice in the Gellert Lieder might at first be put off by
Schreier's lack of power, the musical intelligence and profound soulfulness he brings to the songs more than compensates. But above all, the aching longing
Schreier brings to Adelaide, Op. 46, makes his recording the most haunting ever recorded.