Performance Wednesday, January 23, 2013 | 7:30 PM

Dorothea Röschmann
Malcolm Martineau

Zankel Hall
Hailed as “one of the best [sopranos] in the world” (The New York Sun), Dorothea Röschmann’s innate feeling for poetry, graceful phrasing, and profound dramatic instincts are ideally suited to interpret the art of song on both opera and recital stages. The German soprano returns to Carnegie Hall, this time joined by pianist Malcolm Martineau, to take on selections from Schubert’s and Wolf's Goethe lieder, plus art songs by Richard Strauss and Liszt.


  • Dorothea Röschmann, Soprano
  • Malcolm Martineau, Piano


  • SCHUBERT "Heiss mich nicht reden," D. 877, No. 2
  • SCHUBERT "So lasst mich scheinen," D. 877, No. 3
  • SCHUBERT "Nur wer die Sehnsucht kennt," D. 877, No. 4
  • SCHUBERT "Kennst du das Land," D. 321
  • SCHUBERT "Der König in Thule," D. 367
  • SCHUBERT "Gretchen am Spinnrade," D. 118
  • SCHUBERT "Gretchens Bitte," D. 564 (fragment, completed Benjamin Britten)
  • R. STRAUSS "Die Nacht," Op. 10, No. 3
  • R. STRAUSS "Morgen," Op. 27, No. 4
  • R. STRAUSS "Schlechtes Wetter," Op. 69, No. 5
  • R. STRAUSS "September" from Four Last Songs
  • R. STRAUSS "Befreit," Op. 39, No. 4
  • LISZT "Ich möchte hingehn"
  • LISZT "Der du von dem Himmel bist"
  • LISZT "Freudvoll und leidvoll," S. 280
  • LISZT "Über allen gipfeln ist Ruh'"
  • LISZT "Die Loreley"
  • WOLF "Heiss mich nicht reden"
  • WOLF "Nur wer die Sehnsucht kennt"
  • WOLF "So lasst mich scheinen"
  • WOLF "Kennst du das Land"

  • Encores:
  • WOLF "Gesang Weylas"
  • SCHUMANN "Waldesgespräch," Op. 39, No. 3


  • Dorothea Röschmann

    Born in Flensburg, Germany, Dorothea Röschmann made her critically acclaimed debut at the 1995 Salzburg Festival as Susanna in Le nozze di Figaro, conducted by Nikolaus Harnoncourt, and has since returned to sing Countess Almaviva (Le nozze di Figaro), Ilia (Idomeneo), Donna Elvira (Don Giovanni), Nannetta (Falstaff), Pamina (Die Zauberflöte), and Servilia and Vitellia (La clemenza di Tito), with such conductors as Claudio Abbado, Daniel Harding, Sir Charles Mackerras, and Christoph von Dohnányi.

    At the Metropolitan Opera, she has sung Susanna, Pamina, Donna Elvira, and Ilia with James Levine; at the Royal Opera House, Covent Garden, her roles have included Pamina and Fiordiligi (Così fan tutte) with Sir Colin Davis, and Countess Almaviva with Antonio Pappano. At La Scala in Milan, she has performed as Countess Almaviva, and has also sung Donna Elvira with the company in Moscow. At the Vienna State Opera, she has appeared as the Countess and Susanna; at the Bavarian State Opera in Munich, she has sung Zerlina (Don Giovanni), Susanna, Ännchen (Der Freischütz), Marzelline (Fidelio), Anne Trulove (The Rake's Progress), and the title role in Rodelinda. She is also closely associated with the Deutsche Staatsoper in Berlin, where her roles have included Ännchen with Zubin Mehta; Nannetta with Claudio Abbado; and Pamina, Fiordiligi, Susanna, Zerlina, Donna Elvira, Eva (Lohengrin), and Elsa (Die Meistersinger von Nürnberg) with Daniel Barenboim. She has also appeared at La Monnaie in Brussels as Norina (Don Pasquale) and at Opéra Bastille in Paris as the Countess and Pamina.

    This season, Ms. Röschmann will perform the role of the Marschallin (Der Rosenkavalier) at the Deutsche Staatsoper Berlin with Sir Simon Rattle, and Countess Almaviva in Los Angeles with Gustavo Dudamel. Her future plans include returns to the Bavarian State Opera, Royal Opera House, and Vienna State Opera.

    Recent concert appearances include performances with the Berliner Philharmoniker led by Sir Simon Rattle and Bernard Haitink; Vienna Philharmonic Orchestra with Pierre Boulez, Nikolaus Harnoncourt, and Daniel Barenboim; Chicago Symphony Orchestra with Mr. Barenboim; Munich Philharmonic with James Levine, The Cleveland Orchestra with Franz Welser-Möst; Vienna Symphony Orchestra with Georges Prêtre; Orchestra Filarmonica della Scala with Pinchas Steinberg and Mr. Barenboim; Rotterdam Philharmonic with Yannick Nézet-Séguin; Bavarian Radio Symphony Orchestra with Daniel Harding, and the New York Philharmonic with Sir Colin Davis. Forthcoming concert engagements include performances with the New York Philharmonic and Alan Gilbert, Berliner Philharmoniker and Mr. Harnoncourt, and Orchestra Filarmonica della Scala with Mr. Harding.

    Ms. Röschmann's recordings include Countess Almaviva with Nikolaus Harnoncourt, Pamina and Nannetta with Claudio Abbado, Puccini's Suor Angelica with Antonio Pappano, Strauss's Four Last Songs with Yannick Nézet-Séguin; Brahms's A German Requiem with Sir Simon Rattle (winner of a Grammy and a Gramophone Award), Mahler's Symphony No. 4 with Daniel Harding, Handel's Neun Deutsche Arien with the Akademie für Alte Musik Berlin, Handel's Messiah with Paul McCreesh, Pergolesi's Stabat Mater with David Daniels and Fabio Biondi, and a disc of Schumann songs with Ian Bostridge and Graham Johnson.

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  • Malcolm Martineau

    Recognized as one of the leading accompanists of his generation, Malcolm Martineau has worked with many of the world's greatest singers, including Sir Thomas Allen, Dame Janet Baker, Olaf Bär, Barbara Bonney, Ian Bostridge, Angela Gheorghiu, Thomas Hampson, Della Jones, Simon Keenlyside, Angelika Kirchschlager, Magdalena Kožená, Solveig Kringelborn, Jonathan Lemalu, Dame Felicity Lott, Christopher Maltman, Karita Mattila, Lisa Milne, Ann Murray, Anna Netrebko, Anne Sofie von Otter, Joan Rodgers, Amanda Roocroft, Michael Schade, Frederica von Stade, Sarah Walker, and Bryn Terfel.

    Mr. Martineau has presented his own series at Wigmore Hall and at the Edinburgh International Festival. He has appeared throughout Europe at the Barbican, Queen Elizabeth Hall, and the Royal Opera House, Covent Garden, in London; La Scala in Milan; Théâtre du Châtelet in Paris; Gran Teatre de Liceu in Barcelona; Berlin's Philharmonie and Konzerthaus; Amsterdam's Concertgebouw; and Vienna's Konzerthaus and Musikverein. He has also performed in New York's Carnegie Hall and Alice Tully Hall; at the Sydney Opera House in Australia; and at the Aix-en-Provence, Vienna, Schubertiade Schwarzenberg, and Salzburg festivals.

    Recording projects have included Schubert, Schumann, and English song recitals with Bryn Terfel (Deutsche Grammophon); Schubert and Strauss recitals with Simon Keenlyside (EMI); recital records with Angela Gheorghiu and Barbara Bonney (Decca), Magdalena Kožená (Deutsche Grammophon), Della Jones (Chandos), Susan Bullock (Crear Classics), and Amanda Roocroft (Onyx); the complete Fauré songs with Sarah Walker and Tom Krause; the complete Britten folk songs (Hyperion); the complete Beethoven folk songs (Deutsche Grammophon); the complete Poulenc songs (Signum); the Britten song cycles (Onyx); and Schubert's Winterreise with Florian Boesch   (Onyx). 

    This season's engagements include appearances with Simon Keenlyside, Magdalena Kožená, Susan Graham, Michael Schade, Thomas Oliemans, Kate Royal, Christiane Karg, Florian Boesch, and Anne Schwanewilms.

    Born in Edinburgh, Mr. Martineau studied at St. Catharine's College, Cambridge, and the Royal College of Music. He was a given an honorary doctorate at the Royal Scottish Academy of Music and Drama in 2004, and appointed an international fellow of accompaniment in 2009. Mr. Martineau was the artistic director of the 2011 Leeds Lieder+ festival.

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R. Strauss's Four Last Songs ("September")
Rotterdam Philharmonic Orchestra | Yannick Nézet-Séguin, Conductor | Dorothea Röschmann, Soprano

At a Glance

In this rich array of 19th-century German song, we begin with one of the greatest poet-composer pairings in music history: Franz Schubert and Johann Wolfgang von Goethe. Schubert's four songs for the character Mignon in Goethe's influential novel Wilhelm Meisters Lehrjahre and three songs for the character of Gretchen in the verse-play Faust are among the masterpieces of the lied repertory.

The five Richard Strauss songs on the program span the composer's entire career, from the beautiful early song "Die Nacht" (1885) to the nostalgic, profound "September" of 1948.

When Franz Liszt moved to Weimar in 1848, he would have been surrounded by souvenirs of Goethe, whose writings he revered and set to music. We hear three of his Goethe songs, framed by two other lieder, including "Die Loreley" (a descendant of Homer's sirens) set to a poem by Heinrich Heine.

We end with Goethe's Wilhelm Meisters Lehrjahre and Mignon once again, this time in a setting by the great fin-de-siècle master of song, Hugo Wolf.
Program Notes


In a blog post, Jeremy Geffen, Carnegie Hall's Director of Artistic Planning, reflects on great performances, which triggered memories of a January 2008 concert at Carnegie Hall during which Dorothea Röschmann sang Schubert's "So lasst mich scheinen"—also on the program for this concert.

Read Jeremy's full piece about great performances and Ms. Röschmann"revelatory performance" here

This concert and the Pure Voice series are sponsored by the Jean & Jula Goldwurm Memorial Foundation in memory of Jula Goldwurm.