Performance Thursday, October 16, 2014 | 7:30 PM

Luca Pisaroni
Wolfram Rieger

Zankel Hall
The blossoming of German Lied is on full display in gorgeous songs that span Mozart to Schubert. An Italianate vocal line flows elegantly through Mozart’s “Abendempfindung” and Beethoven’s popular “Adelaide,” while Mendelssohn’s “Neue Liebe”—with its vivid depiction of frolicking elves—is quintessentially Romantic. Schubert’s supremacy in the Lied is revealed in a selection of songs that range from the powerful drama of “Der Atlas” and “Erlkönig,” to the eerie calm of “Der Doppelgänger,” to the consoling Wanderers Nachtlied II.


  • Luca Pisaroni, Bass-Baritone
  • Wolfram Rieger, Piano


  • MOZART "Das Veilchen," K. 476
  • MOZART "Komm, liebe Zither," K. 351
  • MOZART "An Chloë," K. 524
  • MOZART "Abendempfindung," K. 523
  • BEETHOVEN "Lied aus der Ferne," WoO 137
  • BEETHOVEN "Der Kuss," Op. 128
  • BEETHOVEN "Zärtliche Liebe," WoO 123
  • BEETHOVEN "Adelaide," Op. 46
  • MENDELSSOHN "Neue Liebe," Op. 19a, No. 4
  • MENDELSSOHN "Gruss," Op. 19a, No. 5
  • MENDELSSOHN "Morgengruss," Op. 47, No. 2
  • MENDELSSOHN "Allnächtlich im Traume," Op. 86, No. 4
  • MENDELSSOHN "Auf Flügeln des Gesanges," Op. 34, No. 2
  • MENDELSSOHN "Reiselied," Op. 34, No. 6
  • SCHUBERT "Der Atlas," D. 957, No. 8
  • SCHUBERT "Ihr Bild," D. 957, No. 9
  • SCHUBERT "Das Fischermädchen," Op. 957, No. 10
  • SCHUBERT "Die Stadt," Op. 957, No. 11
  • SCHUBERT "Am Meer," Op. 957, No. 12
  • SCHUBERT "Der Doppelgänger," Op. 957, No. 13
  • SCHUBERT "Auf dem See," Op. 543
  • SCHUBERT "Grenzen der Menschheit," D. 716
  • SCHUBERT "Ganymed," D. 544
  • SCHUBERT "Erlkönig," D. 328
  • SCHUBERT Wanderers Nachtlied II, D. 768
  • SCHUBERT "An Schwager Kronos," D. 369

  • Encores:
  • BEETHOVEN L’amante impaziente, Op.82, No.3
  • SCHUBERT "Il modo di prender moglie," D. 902, No. 3

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission.


  • Luca Pisaroni

    Italian bass-baritone Luca Pisaroni has established himself as one of the most captivating and versatile singers performing today. Since his debut at age 26 with the Vienna Philharmonic Orchestra at the Salzburg Festival, led by Nikolaus Harnoncourt, Mr. Pisaroni has performed at many of the world's leading opera houses, concert halls, and festivals.

    Following a series of critically acclaimed performances as Leporello in Mozart'sDon Giovanni at the Salzburg Festival, Mr. Pisaroni begins the 2014-2015 season as Count Almaviva in Mozart's Le nozze di Figaro at the Teatro Real in Madrid, a role he later performs at the Vienna State Opera and San Francisco Opera. Mr. Pisaroni also sings the title role in Le nozze di Figaro at the Bavarian State Opera in Munich and the Festspielhaus in Baden-Baden this season. He returns to the Metropolitan Opera stage to sing Leporello in Don Giovanni, led by Alan Gilbert, and performs the role of Enrico VIII in Donizetti's Anna Bolena at the Zurich Opera House and the Vienna State Opera.

    Concert appearances during the 2014-2015 season include Mendelssohn's Die erste Walpurgisnacht with the Orchestra of St. Luke's at Carnegie Hall under the baton of Pablo Heras-Casado, Haydn's Die Schöpfung with Daniel Harding, Beethoven's Missa solemnis with the Los Angeles Philharmonic, Bach's B-Minor Mass with the Leipzig Gewandhaus Orchestra, and Stravinsky's Pulcinella with the San Francisco Symphony and Music Director Michael Tilson Thomas. Mr. Pisaroni also performs a series of recitals with pianist Wolfram Rieger at the Muziekgebouw aan 't IJ in Amsterdam and the Vancouver Recital Society.

    More Info

  • Wolfram Rieger

    Wolfram Rieger received his first piano lessons from his parents and later from Konrad Pfeiffer in Regensburg. He soon developed a deep affection for lied interpretation and continued his studies at the Hochschule für Musik in Munich with famous lied pianists Dr. Erik Werba and Helmut Deutsch. After earning his diploma with distinction, he attended several master classes with Elisabeth Schwarzkopf, Hans Hotter, and Dietrich Fischer-Dieskau. Even during his studies, he began teaching at the Hochschule für Musik until 1991, when he started his own lieder class for singers and pianists. In 1998, he became a professor of lied at Berlin's Hochschule für Musik Hanns Eisler. Mr. Rieger regularly holds master classes in Europe and Japan.

    Mr. Rieger is a regular guest artist at many important music centers and festivals throughout the world, including the Schubertiade Feldkirch, Schubertíada a Vilabertran, Amsterdam's Royal Concertgebouw, Paris's Théâtre du Châtelet, London's Wigmore Hall, New York's Carnegie Hall, Vienna's Musikverein and Konzerthaus, Salzburg Festival, Schleswig-Holstein Musik Festival, Konzerthaus Berlin, and Kölner Philharmonie. He appears both as recital accompanist and chamber musician with such renowned artists as Brigitte Fassbaender, Barbara Bonney, Juliane Banse, Michelle Breedt, Anja Harteros, Thomas Hampson, Dietrich Fischer-Dieskau, Olaf Bär, Matthias Goerne, Thomas Quasthoff, Peter Schreier, Michael Schade, and the Cherubini, Vogler, and Petersen quartets.

    A prolific recording artist, Mr. Rieger is well represented on numerous CDs, many of which have received various awards. Other awards and distinctions include the honorary medal of the Associació Franz Schubert de Barcelona.

    More Info

At a Glance

In this program, an Italian-born singer shows his mastery of songs exclusively in the German language in a rich sampling of four of the early masters of lieder: Mozart, Beethoven, Mendelssohn, and Schubert. As the late 18th century moved into the early Romantic period, these composers essentially created from scratch a whole new lyrical genre, and then within less than 50 years, brought it to a peak of expressive drama and refinement.

The inspiration behind this new genre was the explosion of a magnificent German poetic tradition during this same era. The king of the German poets was Johann Wolfgang von Goethe (1749–1832), a diplomat, scientist, and prolific master of both poetry and prose. He became Schubert’s favorite poet, and, indeed without Goethe, Schubert might never have achieved the heights he did as a songwriter. Sadly—on two different occasions—Schubert and his supporters sent collections of his Goethe lieder to the poet without any acknowledgment from him, for Goethe was extremely conservative in his musical tastes. Such indifference must have wounded Schubert deeply.

Another great poet of the early 19th century was Heinrich Heine (1797–1856), a writer whose biting irony and jaundiced view of human nature wrung all the sentimentality out of Romantic verse. We hear a dozen Heine songs by both Mendelssohn and Schubert, although the latter seemed more in tune with Heine’s satirical edge than did the gentler Mendelssohn.
Program Notes


Luca Pisaroni sings "Madamina, il catalago è questo" from Mozart's Don Giovanni.

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