(photo: Sim Canetty Clarke)

Chamber Music

Lieder recital with Gerald Finley and Antonio Pappano

Singing Lieder gives you the opportunity, says Gerald Finley, “to show who you really are as a singer.” The bass-baritone has put together the programme of his Lieder recital so that he can truly unfold all facets of his abilities: starting with Adelaide, Beethoven’s well-known song with piano, to works by Franz Liszt, Ottorino Respighi and Maurice Ravel, to songs and romances by Dmitri Shostakovich and Paolo Tosti. The Canadian singer will be accompanied at the piano by Antonio Pappano.

Gerald Finley Bass Baritone

Antonio Pappano Piano

Ludwig van Beethoven

Adelaide in B flat major op. 46

Ludwig van Beethoven

In questa tomba oscura in A flat major WoO 133

Ludwig van Beethoven

La partenza in A major WoO 124

Ludwig van Beethoven

Der Kuss in A major op. 128

Franz Liszt

Tre sonetti del Petrarca S. 270b

Ottorino Respighi

Quattro arie scozzesi

Maurice Ravel

Chants populaires

Dmitri Shostakovich

Six Romances on Verses by English Poets op. 62

Paolo Tosti

Selected Songs

Dates and Tickets


The lied is the most personal art form in music: a direct expression of personality not protected by any costumes, make-up, or instrument. Singing lieder gives you the opportunity, says Gerald Finley, “to show who you really are as a singer. […] I had the great good fortune to hear famous virtuosos of the older generation like Fischer-Dieskau, Prey and Tom Krause live. Each of them showed in his very own way how personality shapes and carries a lieder recital.” In the Chamber Music Hall of the Berliner Philharmonie, the Canadian singer, accompanied by conductor and pianist Antonio Pappano at the piano, will present – with his usual “resonant baritone voice full of nuances” (Neue Zürcher Zeitung) – besides Adelaide, Beethoven’s well-known song with piano, his gloomy arietta “In questa tomba oscura” and his setting of Metastasio’s La partenza, which is like a lamento.

The programme continues with Franz Liszt’s Tre sonetti del Petrarca, whose musical expression oscillates in great modulatory diversity between vibrating exaltation and elegiac lament. The lesser-known Quattro arie scozzesi by Ottorino Respighi are from quite a different range of expression: Scottish folk tunes characterised by pentatonics and “Scotch snap”. Scottish bagpipes can also be heard in the Chanson écossaise from Maurice Ravel’s Chants populaires, a collection of folk songs, while the sarcastic setting of Robert Burns’s MacPhersons Farewell at the centre of Shostakovich’s Six Romances is a typical example of the Russian composer’s distinct black humour; selected lieder by Paolo Tosti conclude the recital atmospherically.

(photo: Sim Canetty Clarke)