Nearly all of Loewe's most popular ballads are included in this collection, sung by a voice that is admirably suited to them, and interpreted by an intelligence that dramatizes each song grippingly without the need to inflect every emotive word. Quasthoff's baritone has a rich and sonorous extension into the bass range, a broad palette of vocal colour (so he can personify the child, the father and the sinister wraith in Erlkonig or act out the fraught colloquy of Edward without ever ceasing to sing) and it is a voice that can touch lightly or sing quietly without losing tone.

Innerhalb kurzer Zeit entschied sich Claudio Abbado zweimal, zusammen mit seinen Berlinern die gesamten Beethoven Sinfonien aufzunehmen. Die vorliegende zweite Aufnahme muss sich also zurecht der Frage stellen: War das wirklich nötig? Die Antwort ist simpel: Es war nötig, denn Abbado nahm zahlreiche Schönheitskorrekturen vor, wodurch ein Zyklus entstand, der mit Abstand das Beste ist, was in den letzten Jahren auf diesem Gebiet vorgestellt wurde, allerdings mit einigen kleinen Schönheitsfehlern.

As DG celebrates its 125th birthday this year, the label is bringing to light some great recordings from the past for the very first time, having unearthed some hidden treasures in the archives. The second release in the “Lost Tapes” series is a digital-only release of Wolf’s Mörike- and Goethe-Lieder with soloist Thomas Quasthoff and Christian Thielemann conducting the Münchner Philharmoniker. The album comes out on 24 November but you can pre-order it now and have a first listen to Der Rattenfänger.

The third of DG’s series of seven Mozart operas conducted by Yannick Nezet-Seguin and initiated by Rolando Villazon. It was recorded live in the stunning venue of Festspielhaus Baden Baden and features a star cast full of critically-acclaimed artists – including Diana Damrau, the reigning Konstanze of our time – with an extraordinary strong showing of Deutsche Grammophon artists: Anna Prohaska, Rolando Villazon, Thomas Quasthoff and more.

When Beethoven introduced himself to the Viennese public, playing his own First Piano Concerto in 1795, the other works in the concert were the first half of this oratorio and a symphony by the same composer, who in the following year was appointed Director of Music at the court of Prince Lobkowitz. Antonio Cartellieri, although his father was an Italian, was born in Danzig in 1772, which makes him a fairly close contemporary of Beethoven's. Abandoned at 13 by his parents after their divorce he must have had sufficient talent to attract aristocratic patronage, which enabled him to study in Vienna with Salieri and Albrechtsberger. He died, however, at 35, and until now not even scholars researching Beethoven's early career seem to have taken any interest in him.

A finely balanced recording places the voices in ideal relationship with the orchestra which itself is given a well-aired, clean sound (although the Amsterdam sound of 13 years ago for Bernstein is no less truthful). It supports a performance that is predictably – given the BPO/Abbado partnership – shipshape in execution, nothing in Mahler’s highly original scoring overlooked. As is customary with this conductor’s Mahler, the approach tends to be objective and disciplined. In that respect it is at the opposite pole to the concept of Bernstein who, in my favourite version among many available, is more yielding and, to my ears, more idiomatically Mahlerian in mood and in subtlety of rubato, those little lingerings that mean so much in interpreting the composer – yet Bernstein is no slower as a whole.

Helmuth Rilling is perhaps better known for his extensive recordings of Bach Cantatas, and here, I can only say that this is a very "Bach"-like approach to Handel's oratorio, with severe attention being given to the various themes, each being given weight and purpose. The Oregon Bach Festival Orchestra & Chorus both perform admirably, giving exact attention to Rilling's tempos. Among the soloists, Sibylla Rubens had the most pleasing, lightest tone, with alto Ingeborg Danz and baritone Thomas Quasthoff both swallowed and thick in their vocal qualities, and tenor James Taylor, giving a light, inconsequential reading to his arias. And since the soloists are also under the stern eye of Rilling's rigid direction, they are given little opportunity to bring an iota of warmth or emotion to their readings.

With A Romantic Songbook, Thomas Quasthoff attempts to re-create the spirit of a live recital in a studio recording. It certainly looks like a recital program: an assortment of lieder composers, each represented by a handful of favorite songs, with a few unfamiliar numbers thrown in to keep things interesting. There's even an encore – the traditional "Danny Boy." With the exception of Schumann's Belsatzar, the bass-baritone hasn't recorded any of these songs before, and, in fact, this is his first recording to include any songs by Mendelssohn, Carl Loewe, or Richard Strauss. This stylistic variety gives the album a breezy, cheerful disposition that matches Quasthoff's personality.

Thomas Quasthoff’s great artistry needs no introduction. Here he follows up his much-raised Bach Cantatas recording with another project perfectly suited to his dark-hued, flexible voice. In anticipation of the forthcoming Haydn year – the 200th anniversary of the composer’s death falls in May 2009 – Quasthoff turns his attention to the Viennese master’s considerable operatic output, with an album of arias drawn from both Haydn’s comic and serious operas.

This 2-CD set contains recordings of music conducted by Gary Bertini when he was chief conductor of the Radio Symphony Orchestra Cologne of the West-German Radio Corporation Cologne (WDR). In the Mass in C Minor, the first soprano part is full of virtuoso technical difficulties – especially in the famous “Et incarnatus est” passage – and here legendary soprano Arleen Augér interprets it in an exemplary manner.

The 2008 New Year’s Eve gala from Berlin features the Berliner Philharmoniker under the baton or Sir Simon Rattle, plus world-class singers Thomas Quasthoff and Pauline Malefane in an outstanding all-American program ranging from Gershwin’s “Porgy and Bess” and “An American in Paris” to Copland’s “Old American Songs”.

Sir Simon Rattle was in no doubt: the performance of the St. Matthew Passion which he realized together with the Berlin Philharmonic and the Rundfunkchor Berlin in 2010 was for him “the single most important thing we ever did here.” Critics around the world agreed. They praised the semi-staged “ritualization” by American star-director Peter Sellars, as well as the outstanding musical performances by the soloists, including Magdalena Kozená, Christian Gerhaher, Thomas Quasthoff, and Mark Padmore as the Evangelist.

It's incredible that a work considered as securely at the core of the Western musical canon as J.S. Bach's St. Matthew Passion didn't receive a complete recording until after the Second World War, and that prior to that, unabridged performances were exceptionally rare; even Mendelssohn's momentous 1841 Leipzig performance was heavily cut, and Mendelssohn's son reported that even so, much of the audience "fled yawning before it was over." The earliest nearly complete recording was made in 1941 with Leipzig's Gewandhaus Orchestra and Thomanernchor, and those same forces are brought together again, along with the Tölzer Knabenchor, in this 2009 performance led by Riccardo Chailly.

One of the most admired Lieder and concert singers of his generation, Bass-Baritone Thomas Quasthoff returns to the studio with his first solo album since 2010. Thomas Quasthoff is approaching standards such as Nice and Easy or Cry Me A River with new arrangements by Jörg Achim Keller. The results: exciting new versions of familiar jazz-classics. This release finds the singer partnering again with German trumpeter Till Brönner - featuring a solo and his Trio Partners Frank Chastenier, Dieter Ilg and Wolfgang Haffner as well as the unique NDR Bigband.