Schubert: Die schöne Müllerin
Julian Prégardien (tenor), Kristian Bezuidenhout (piano)
Awards:
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Gramophone Magazine, October 2024, Editor's Choice
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International Classical Music Awards, 2025, Nominated - Vocal Music
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Sunday Times, 20 Best Classical Albums of 2024
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Gramophone Magazine, Critics' Choice 2024
-
Gramophone Awards, 2025 Finalists, Song
As the young man’s love turns from joy to frustration and finally despair Prégardien seems to diagnose schizophrenia with the voice bullishly confident and then almost hollowed out and drained...
Schubert: Die schöne Müllerin
Julian Prégardien (tenor), Kristian Bezuidenhout (piano)
Purchase product
Awards:
-
Gramophone Magazine, October 2024, Editor's Choice
-
International Classical Music Awards, 2025, Nominated - Vocal Music
-
Sunday Times, 20 Best Classical Albums of 2024
-
Gramophone Magazine, Critics' Choice 2024
-
Gramophone Awards, 2025 Finalists, Song
As the young man’s love turns from joy to frustration and finally despair Prégardien seems to diagnose schizophrenia with the voice bullishly confident and then almost hollowed out and drained...
About
This first release in an exclusive recital collaboration with harmonia mundi presents Julian Prégardien’s reading of a cycle that explores quintessentially Schubertian themes: nature, love, solitude, death. Taking full advantage of the unique timbres of a Graf-style fortepiano, the young German tenor and Kristian Bezuidenhout create an expressive palette of exceptional variety, full of striking contrasts.
Contents and tracklist
Spotlight on this release
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Awards and reviews
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Gramophone MagazineOctober 2024Editor's Choice
-
International Classical Music Awards2025Nominated - Vocal Music
-
Sunday Times20 Best Classical Albums of 2024
-
Gramophone MagazineCritics' Choice 2024
October 2024
As the young man’s love turns from joy to frustration and finally despair Prégardien seems to diagnose schizophrenia with the voice bullishly confident and then almost hollowed out and drained of colour in ‘Die liebe Farbe ’.
October 2024
A Schöne Müllerin that combines tonal beauty, immediacy of characterisation and an enriching sense of spontaneous improvisation. This performance simply feels right, and I suspect [Prégardien’s] father Christoph might agree.
Each stretch of the keyboard appears to have its own colour, while astute use of the pedals generates the most delicate pianissimos...For much of the time, Julian Prégardien is in perfect sync with Bezuidenhout’s mercurial piano, and is at his most impressive and touching in the cycle’s last quarter when the lovelorn miller, crippled by his loss, fades into an eerie quiet.
