Dichterliebe (SongStudio 2026) S6 | E271 | Lester The Nightfly Radio

Dichterliebe (SongStudio 2026) S6 | E271

A report from Carnegie Hall’s SongStudio 2026: Lisette Oropesa Anthony Roth Costanzo, Bryan Wagorn and Lawrence Brownlee.

Carnegie Hall’s SongStudio is an innovative, week-long intensive workshop dedicated to exploring the future of the vocal recital. Directed by renowned soprano Renée Fleming, it brings together rising professional singers and collaborative pianists to refine their artistry through master classes, coaching, and public performances. The program is part of Carnegie Hall’s Weill Music Institute and aims to renew and refresh the vocal recital experience by engaging both new and familiar audiences.

This week’s episode takes us on a sweeping vocal journey, moving from the tender intimacy of a lullaby to the dramatic heights of German Romanticism. We begin by exploring the different shades of night—the dreams we cherish, the shadows we fear, and the eternal love that persists through it all. It is a program designed to showcase the versatility of the human voice, featuring legendary interpreters like Victoria de los Ángeles, Matthias Goerne, and Dietrich Fischer-Dieskau.

We open with a fascinating comparison of two interpretations of Xavier Montsalvatge’s “Canción de cuna para dormir a un negrito.” This Afro-Cuban lullaby is hypnotic and gentle, and hearing it back-to-back in different voices sets the stage for a show focused on nuance. This transitions seamlessly into the world of American art song with Florence Price’s “My Dream,” performed by Thomas Hampson. Price’s work brings a lush, lyrical texture that bridges the gap between the lullaby before it and the deep introspection to follow.

As we move deeper into the first half, the mood shifts toward the sublime melancholy of the German lied. We feature two masterpieces by Franz Schubert: the meditative “Nacht und Träume” and the ecstatic “Ganymed.” Sandwiched between them is Johannes Brahms’ powerful “Von ewiger Liebe” (Of Eternal Love). These songs grapple with big themes—nature, the cosmos, and the unshakable resolve of love—anchored by the rich, velvet baritone of Matthias Goerne and the dramatic intensity of Christa Ludwig.

Just before the midpoint, we take a detour into the theatrical and the macabre. We shake off the somber mood with the rare voice-and-piano version of Camille Saint-Saëns’ famous “Danse macabre,” followed by Benjamin Britten’s charmingly quirky “Johnny.” These tracks add a spark of wit and storytelling, serving as a perfect palate cleanser. They remind us that art song isn’t just about introspection; it can also be a ghost story or a cabaret character study.

Dichterliebe

The entire second half of our show is dedicated to one of the towering achievements of the repertoire: Robert Schumann’s complete Dichterliebe (A Poet’s Love), Op. 48. Based on the biting and bittersweet poetry of Heinrich Heine, this cycle is a psychological rollercoaster. We are listening to the reference recording by Dietrich Fischer-Dieskau and Christoph Eschenbach. You will hear the full arc of a romantic tragedy, beginning with the fragile hope of “Im wunderschönen Monat Mai” (In the beautiful month of May), moving through tears and anger, and finally settling into a heavy, nostalgic resignation.

Listening to Dichterliebe in one sitting is a transformative experience. Schumann’s piano writing often says just as much as the singer, finishing the poet’s thoughts when words fail him. From the delicate flowers of the early songs to the “old, angry songs” buried in the sea at the end, this cycle captures the essence of heartbreak like nothing else. We hope you enjoy this journey through the landscapes of the heart.