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Theo Adam : Edition du 90ème anniversaire.
Format : 3 CD
Total Time : 02:08:30

Label : Berlin Classics
Catalog No. : 0300824BC
EAN : 0885470008240
Price Code : DM020A

Publishing Year : 2016
Release Date : 26/10/2016

Genre : Classical
Richard Wagner (1813-1883)
Extraits de "Le Vaisseau fantôme", "La Valkyrie", "Les Maîtres chanteurs de Nuremberg", "Parsifal"

Richard Strauss (1864-1949)
Extraits de "Le Chevalier à la Rose", "La Femme sans ombre"

Wolfgang Amadeus Mozart (1756-1791)
Extraits de "Les noces de Figaro", KV 492
Se voul ballare
Non più andrai, farfallone amoroso
Tutto è disposto
Aprite un po' quegl'occhi
Vedrò, mentr'io sospiro
Extraits de "Don Juan", KV 527
Ah pietà, signor miei
Deh vieni alla finestra
Metà di voi quà vadano
"Ihr Mächtigen seht ungerührt auf eure Sklaven, extrait de "Zaide", KV 344
"Ein Mädchen oder Weibchen, extrait de "La Flûte enchantée", KV 620
Warnung (Männer suchen stets zu naschen), KV 433 (416c)

Johann Sebastian Bach (1685-1750)
Extraits de l' "Oratorio de Noël", BWV 248
Immanuel o süßes Wort
Jesu, du mein liebstes Leben
Erleucht auch meine finstre Sinnen
Cantate "Was mein Gott will, das gescheh allzeit", BWV 111
Extraits de "Passion selon St. Matthieu"
Ich bin's, ich sollte büßen
Er antwortete und sprach
Cantate "Christ lag in Todes Banden", BWV 4
"Die Welt mit allen Königreichen", extrait de la Cantate "Wer mich liebet, der wird mein Wort halten", BWV 59
"Du bist geboren mir zu Gute", extrait de la Cantate "Also hat Gott die Welt geliebt", BWV 68
"Gott, ach Gott, verlaß die Deinen nimmermehr!", extrait de la Cantate "Gott, der Herr, ist Sonn und Schild", BWV 79
Cantate "Gott ist mein König", BWV 71
Extraits de la Cantate "Wachet auf, ruft uns die Stimme", BWV 140
So geh herein zu mir
Mein Freund ist mein

Theo Adam, basse-baryton
Dresdner Kreuzchor
Thomanerchor Leipzig
Dresdner Philharmonie
Gewandhausorchester Leipzig
Staatskapelle Dresden
Staatskapelle Berlin
Otmar Suitner, direction
Rudolf Mauersberger, direction
Erhard Mauersberger, direction
Kurt Thomas, direction
Martin Flämig, direction

Theo Adam a… 90 ans ! A cette occasion, Berlin Classics nous propose un triptyque Bach-Mozart-Wagner. On commence bien sûr par le récital bien connu dédié au Maître de Bayreuth, car le baryton allemand fut avant tout le Wotan de sa génération. La voix se coule de façon naturelle dans cette tessiture difficile où on a entendu depuis tant d’interprètes s’épuiser en vain. Wagner voulait que l’on chante ses œuvres comme du Bel Canto. Excepté Hotter dans ses premiers témoignages, qui a phrasé les Adieux avec une telle noblesse et un tel sens du legato ? Mais l’essentiel est au-delà de la technique infaillible et de l’intelligence aigüe du chanteur. Son Wotan, son Barak ont marqué à jamais les mélomanes par la simple et rayonnante humanité du timbre, la voix universelle, celle du Christ de la Passion selon Saint Matthieu. On le sent plus réticent face à Mozart : l’élégance et le style y sont, bien sûr, on aimerait moins de raideur, plus de fantaisie et d’humour. Accompagnement somptueux (la Staatskapelle de Dresde dans Mozart et Wagner), partenaires de haut vol (Arleen Auger, Elisabeth Grümmer) dans Bach. Rien d’inédit, mais un magnifique hommage à un artiste qui n’eut pas la discographie qu’il aurait mérité. (Olivier Gutierrez)

“Do not scorn the masters …” is a quotation attributed to Richard Wagner and for Elisabeth Wilke it is “very closely linked with the voice of Theo Adam, with his vocal presence, and the exceptional intensity of his character portrayals, all of which permeated every syllable that he sang, both spiritually and emotionally: he was therefore a true ‘Mastersinger’!” Many years ago, the contralto who is now head of the vocal faculty at the Mozarteum University in Salzburg was a guest on the “Theo Adam lädt ein” German television show. “He was my great role model and later, when we were colleagues, he was the benchmark I set as my goal. And like him, I did not allow myself to be ‘parked’ in a stylistic pigeon-hole!”, says Elisabeth Wilke, explaining: “Whether it was Schütz, the Bach Passions, operatic recitals of Mozart, Wagner, Strauss and Tchaikovsky, or equally at ‘newly minted premieres’ – he always succeeded in striking the spark of artistic fire and in passing it on to others.” Elisabeth Wilke quotes Beethoven’s Fidelio when, full of gratitude, she adds that it was “her good fortune and great joy to have experienced that phenomenon at such close quarters and to be reassured that it was documented on numerous commercial recordings.” The recordings now to be released as a box set on the Berlin Classics label to mark Theo Adam’s 90th birthday never fail to thrill listeners. They are impressive for their artistic quality and for the diversity they demonstrate, as alluded to by Elisabeth Wilke. From his native city of Dresden Theo Adam travelled the world, in a career that began in 1937 as a choirboy with the Dresden Kreuzchor and led 12 years later, thanks to an engagement with Joseph Keilberth, to his becoming a member of the famous Semperoper, where Theo Adam was to achieve such fame as a virtuoso. In his 1996 book about “a singer’s life in encounters and transformations”, Theo Adam explains how important that fateful encounter with Keilberth was, explaining that “in the second year of my apprenticeship he gave me the part of Master Ortel in Die Meistersinger in Berlin; a small role but one whose first words almost became a leitmotif for the career I had just embarked upon.” He refers to Master Ortel’s dictum of “Immer am Ort!” (always in my place). Theo Adam almost became the character on stage, playing the role in Dresden for nearly six decades, and nearly three in Bayreuth. He travelled far and wide, from La Scala in Milan to the New York Met. In 2006 the bass decided “80 is time to stop”, as he brought his opera singing career to an end in the city where it had begun in 1949: in the role of the hermit in Weber’s Der Freischütz at the Dresden Semperoper. Back in 1985, when the opera house was re-opened after restoration from war damage, he played that very role. The above mentioned book and this booklet contain a series of excellent photographs, portraits of roles that paint a picture of Theo Adam’s versatility as an opera singer. He must have played well over 100 different roles in the course of that long career. Add to those the many parts he played as a concert singer, in his own productions, the books he has written and an admirable discography. step is that this comprehension should be transformed, transmuted, to a higher sphere of understanding. Not audiophile vanity, but singing; because what needs to be said can only be sung. It’s another dimension. The listener/spectator is discharged with the feeling of having experienced something that was hitherto hidden from view. And that is something that Theo Adam often achieved with his art in exemplary manner in the course of his singing career. He was and is unmistakable as a singer, not just for that.”

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