Sarah Wegener & Götz Payer

Richard Strauss, Zueignung

Price: € 19.95
Format: CD
Label: CAvi
UPC: 4260085530410
Catnr: AVI 8553041
Release date: 05 November 2021
1 CD
✓ in stock
€ 19.95
Catalogue number
AVI 8553041
Release date
05 November 2021

About the album

Sarah Wegner, Soprano & Götz Payer, Piano . Zueignung , Lieder

“Without wanting to detract from the genius of Schubert or Schumann, we [Re: Sarah Wegener & Götz Payer] have a different answer: we would have loved to live at the turn from the 19th to the 20th century, ”fin de siècle”, amidst the transition from Naturalism to Modernism with the currents of Jugendstil and Impressionism.

What a time that must have been, when composers of the likes of Reger, Mahler, Schoenberg, Webern, Berg, Alma Mahler-Werfel, and Zemlinsky were in their prime, along with Richard Strauss, perhaps the most dazzling representative of his generation. Not to mention all the outstanding composers in neighboring European

We should not forget how important poetry was in those days. Many poets we now find unfamiliar – Otto Julius Bierbaum, Herrmann von Gilm, Detlev von Liliencron, Charles Mackay, Felix Dahn, and Richard Dehmel – were widely admired, and their texts were set to music by countless composers.

Take, for example, Richard Dehmel, whom we have just mentioned. Hundreds of musical settings of his poems exist, and his output inspired artists such as Karl Schmidt-Rottluff and Ernst Ludwig Kirchner to create entire cycles of paintings. The artsong catalogue of Richard Strauss contains over 200 lieder, with a number of Dehmel settings including “Befreit”………

These songs have been part of our lives for many years; among our personal favorites, we count lieder such as “Morgen!”, “Allerseelen” and “Zueignung”, which are justifiably popular and beloved.

It is a wonderful feeling to be able to grow and mature in tandem with music we have known and loved for a long time. If we were to write down our own personal experiences associated with Richard Strauss in a book, we would recount precious moments such as serving as a page-turner for Jessye Norman’s vocal recitals of Strauss lieder, or the first cautious approach to Strauss during voice studies, finally leading to the pleasure of performing his orchestral songs under the batons of Mariss Jansons and Vladimir Jurowski.( Excerpt from the booklet)



Sarah Wegener approaches every role with intensity, as if it were chamber music. She enthrals listeners with the richness and warmth of her voice, for example in performances of Mahler’s 8th Symphony under Eliahu Inbal in Hamburg and Kent Nagano in Montreal, as well as in her War and Peace programme shaped around works by Handel and Purcell, which she recently presented at the SWR Schwetzingen Festival. Her “marvellously radiant voice, as powerful as it is rich in colour” (Frankfurter Allgemeine Zeitung) marks her out as a Lieder singer of the highest order, as shown on her highly-praised current CD Into the Deepest Sea.

On the opera stage, she made successful debuts at the Royal Opera House in London and the Deutsche Oper Berlin in Georg Friedrich Haas’ Morgen und Abend.

Her remarkable versatility has ensured long-standing collaborations with her musical partners, such as the conductors Kent Nagano, Emilio Pomàrico, Peter Rundel, Tonu Kaljuste, Heinz Holliger and Frieder Bernius. Concerts and recitals have taken her to the Schleswig-Holstein Musik Festival, the Rheingau Music Festival, the RuhrTriennale and the Handel Festival Halle, as well as the Alte Oper Frankfurt, the Konzerthaus Berlin, the Tonhalle Zürich, the Vienna Konzerthaus, the Concertgebouw Amsterdam, the Philharmonie Köln, the Casa da Música Porto and the Bozar in Brussels. She has sung leading opera roles at the Wiener Festwochen, the Theater Bonn and the Staatstheater Saarbrücken.

Highly regarded as a performer of both classical and romantic repertoire, as well as contemporary compositions, Sarah Wegener recently sang Dvořak’s Stabat Mater and Haydn’s Sieben letzte Worte (Philippe Herreweghe, Orchestre des Champs-Élysées, Collegium Vocale Gent), Hans Werner Henze’s Floß der Medusa (Vienna Radio Symphony Orchestra, Cornelius Meister) and, in a sensational concert in Graz, Strauss‘ Vier letzte Lieder. She has given the premiere of numerous works by Georg Friedrich Haas, including the opera Bluthaus, for which she was chosen as Singer of the Year in 2010 by Opernwelt magazine.

With the NDR Symphony Orchestra under Thomas Hengelbrock she performed Dunkle Saiten by Jörg Widmann, who also dedicated the solo part in his work Labyrinth III to her; a recording of the work with the WDR Symphony Orchestra was released in summer 2018.

Sarah Wegener’s discography includes recordings of Korngold’s Die stumme Serenade, Schubert’s Lazarus and Mozart’s C minor Mass as well as Fauré’s Pélleas et Mélisande and Rossini’s Petite Messe solennelle.Into the Deepest Sea, her first Lieder recording with the pianist Götz Payer, was released in November 2017 on CAvi-music.

The 2017/18 season was crowned by Sarah Wegner’s debut at the Salzburg Festival under the direction of Kent Nagano, performing Penderecki’s St. Luke Passion with the Orchestre Symphonique de Montréal. This season, she will return to the Musikkollegium Winterthur, followed by a performance of Schoenberg’s Six Orchestral Songs with the Deutsche Radio Philharmonie in Saarbrücken.

Now a regular guest with the Orchestre Symphonique de Montréal, she will return to the orchestra to perform Handel’s Messiah, as well as performing Mozart’s Requiem in February with the Bach-Collegium Stuttgart. With Le Concert Lorrain she will take Handel’s Brockes Passion on tour, and she will make her second appearance at the Elbphilharmonie with the Hamburg Philharmonic State Orchestra under Kent Nagano, where Mahler’s 2nd Symphony and Ligeti’s Requiem will be on the programme.

Following her double bass studies, the British-German soprano studied singing with Prof. Jaeger-Böhm in Stuttgart and took part in masterclasses with Dame Gwyneth Jones and Renée Morloc.


The German pianist Götz Payer began his musical education at age 7 as a member of the Stuttgarter-Hymnus Boys’ Choir.

After completing a first degree in German literature and philosophy at the University of Stuttgart, he studied piano performance with Gotlinde Sudau and Konrad Elser at the Conservatorium of Music in Lübeck. Götz Payer found himself developing a particular interest in art song, which led him to continue his studies in Irwin Gage’s class for Lied interpretation at the Conservatorium of Music in Zürich, from which he graduated with distinction. He received scholarships from the DAAD (German Academic Exchange Service) and Yehudi Menuhin Live Music Now.

Recent concerts have taken him throughout Europe, the USA and to Asia. He has been invited to perform at high-profile events such as the Schleswig-Holstein Music Festival, the Menuhin Festival Gstaad, the Festspiele Mecklenburg-Vorpommern, and the Rheingau Music Festival, the Tonhalle Zürich, the Opera Lille and the Philharmonie Köln.

As a chamber musician he has worked with renowned groups including the King’s Singers, Cantissimo, and the Amaryllis Quartet.

Götz Payer’s artistry has been documented on various CDs as well as in radio and television productions. As the official accompanist for numerous master classes, he has worked with many of the world’s leading artists, including Grace Bumbry, Helene Schneiderman, Hedwig Fassbender, Renée Morloc, Sibylla Rubens, Ulrike Sonntag, Christa Pfeiler, Ernst Haefliger, Kurt Moll, Matthias Goerne, Christoph Prégardien, Rudolf Piernay, Rudolf Jansen, James Wagner, Cornelius Hauptmann, Alberto Zedda und Gerd Uecker.

As a committed teacher Götz Payer has been invited to give master classes in Germany and Russia, alongside teaching his own class for Lied interpretation at the Conservatorium of Music in Cologne.

Götz Payer is currently taking part in a not-for-profit music project to encourage children to sing (



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