Samuel Hasselhorn

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At six years old, Samuel Hasselhorn couldn't sing a note; all he could manage was a hum. But later, he made it into the children's choir. The hummer grew into a seasoned baritone, living the dream of many singers: Hasselhorn became a permanent member of the Vienna State Opera ensemble. He remained there until 2020, when he left, because the constant rehearsals and the relentless demands of performing opera roles left him with no time for his second great love: art song. Now the baritone pursues both, receiving acclaim for his performances as Wolfram in Wagner's Tannhäuser as well as for Schubert lieder.

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ABOUT

Since winning the Queen Elisabeth Competition in 2018, baritone Samuel Hasselhorn has been a regular guest at the world's most prestigious opera houses: Berlin State Opera "Unter den Linden", Vienna State Opera, Opéra Bastille Paris, Deutsche Oper Berlin, Teatro alla Scala di Milano and the Frankfurt Opera. He works with the most important conductors of our time such as Daniel Barenboim, Christian Thielemann, Joana Mallwitz, Thomas Guggeis, Nathalie Stutzmann, Alain Altinoglu, Adam Fischer, Sebastian Weigle, Philippe Herreweghe and Ivor Bolton and sings concerts and recitals all over the world - including in the Wigmore Hall London, Carnegie Hall New York, Schubertiade Schwarzenberg, Schubertíada Vilabertran, Philharmonie Paris, Alte Oper Frankfurt, Suntory Hall Tokyo, etc.

Frankfurter Rundschau; Judith von Sternburg (24.4.2024)

To be able to sing major roles in your early 30s and at the same time to have brought your song singing to this level is overwhelming.

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Mahler - Revelge

Poznan Philharmonic; Lukasz Borowicz

Schubert - Im Abendrot

piano: Ammiel Bushakevitz

Opernwelt; Uwe Schweikert (August 2024)

With his powerful, voluminous, dark-timbered, colorful, technically brilliant voice, he finds the right tone for every expression, even every nuance.

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Hoffnung

Schubert 200 vol. 3: Hoffnung

The year 1826 was marked by great dreams and hopes, all of which again remained unfulfilled. Schubert was a pioneer of the early Romantic period: he belonged to the first generation of freelance artists – before him almost all composers worked for royal courts or for the nobility.

Apart from his work as a teacher at a Viennese suburban school, Schubert held no official position in his entire life. The position of Vice-Kapellmeister at the Imperial Court Orchestra, for which he applied in 1826, was not awarded to him.

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Licht und Schatten

Schubert 200 Vol.2: Licht und Schatten

With his reputation in Vienna steadily growing (his concerts with singer Johann Michael Vogl were renowned, and by 1825 he was negotiating with four publishers), Schubert was now at the height of his artistic powers. Yet 1824 was perhaps the most miserable of Schubert’s entire life. His friends had left Vienna and he was depressed and feeling the effects of his physical illness: “I feel like the most unfortunate, miserable person in the world. Imagine a person whose health will never get better and who, out of desperation, keeps making things worse instead of better. Imagine a man whose brightest hopes have been dashed and ask yourself whether that is not the most wretched man on earth?"

The year 1825, however, brought light to Schubert’s life. He traveled with his friend Vogl throughout Austria during the summer and felt his powers and hopes returning.

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Urlicht

Songs of Death and Resurrection

At the turn of the nineteenth and twentieth centuries, the lied increasingly took on orchestral garb. The boundary with opera became almost impalpable. That is what Samuel Hasselhorn and Łukasz Borowicz demonstrate here, in a splendid programme mingling smiles and disillusionment, where some of the most characteristic orchestral lieder and operatic arias of this Austro-German ‘fin de siècle’ era blend perfectly together.

I want to thank the Funk foundation who made this recording possible with their generous support!

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