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Ira Siff
Opera News, May 2017

The disc opens with two arias from Carl Millöcker’s operetta, Gräfin Dubarry. The ecstatic aria of the painter René, “Wie schön ist alles,” displays the tenor’s gorgeous instrument and exuberance of delivery, while the more somber “Mein weg führt immer mich zu” presents René in heartbreak mode; Wunderlich reaches depths of passion through his sound.

…Wunderlich’s lustrous tone is a perfect match for Lehár’s melodic richness in the title aria from Schön ist die Welt. …From Leo Fall’s Die Rose von Stambul, the title number has an appropriate eastern feel and a wonderfully catchy hook while “Zwei augen, die wollen mir nicht aus dem Sinn” provides the tenor with a vehicle for simple, tender delivery, coasting above the swaying rhythm of the orchestra—one of the loveliest tracks on the CD. © 2017 Opera News Read complete review

Michael Scott Rohan
BBC Music Magazine, March 2017


Wunderlich delivers these operetta and light opera arias, recorded not long before his tragic death, with the same ardour and elegance that made him his generation’s leading Mozart tenor. © 2017 BBC Music Magazine

Huntley Dent
Fanfare, March 2017

Thanks to uniformly good sound, this release is self-recommending. …Unless you are fluent in German—luckily, Wunderlich’s diction is always clear—you’ll need to be content with his gorgeous voice and the melodies. © 2017 Fanfare Read complete review

Elliot Fisch
American Record Guide, March 2017

This new disc has Wunderlich singing operetta selections recorded for Munich Radio from 1959 through 1965. The sound, though monaural, is very good. The performances are incomparable.

Is there much more that can be said about this magnificent singer? His exceptional talent was recognized in the mid-1950s and he seems to have recorded continuously until his untimely death in 1966. These radio broadcasts only add to an already stunning recorded legacy. The 16 operetta selections show him at his prime in material he sang easily, perfectly, and with depth and meaning—no stress, no pushing; the notes just flow in a wondrous stream. © 2017 American Record Guide Read complete review on American Record Guide

Göran Forsling
MusicWeb International, December 2016

The recordings are excellent and the repertoire is by and large unhackneyed.

The title song from Lehár’s Schön ist die Welt is a gem, …He slides up to the last note but that is a small price to pay for so much excellent singing. The Duke’s two arias from Eine Nacht in Venedig are well-known and with the exception of Nicolai Gedda nobody has sung them more meltingly.

Fritz Wunderlich’s many admirers need no advocacy from me to acquire this delightful disc, but actually no one with the slightest interest in good tenor singing can afford to be without it. © 2016 MusicWeb International Read complete review

Michael Cookson
MusicWeb International, November 2016

In this collection, we have sixteen songs from twelve different composers from Millöcker to Spoliansky, from Lehár to Johann Strauss II which has been assembled to a remarkably consistent high standard of performance and it’s hard to fault the sound quality. My highlight is the final track Melodia con passion, from inveterate Viennese song writer and film composer Willy Mattes, which has Wunderlich creating a dream world of carefree abandon. © 2016 MusicWeb International Read complete review

Lynn René Bayley
The Art Music Lounge, October 2016

This smorgasbord of Munich radio performances include many of those operetta and comic opera numbers that most listeners have come to realize was, aside from Mozart, Wunderlich’s best material. These recordingsare among his most beloved recordings and strong evidence of the qualities that made him so beloved in the late 1960s. Wunderlich may have lacked subtlety of expression much of the time, but except for the very end when heavy drinking seemed to impair his breath control in live performances, he maintained a clean line and had wonderful rhythmic acuity. © 2016 The Art Music Lounge Read complete review

Remy Franck
Pizzicato, September 2016

In one until now unpublished program of mostly operetta arias, the fascination of Fritz Wunderlich’s voice is, as ever, overwhelming. The perfection of the breathing, the closeness to the text, the beauty of his timbre, and, above all, the spontaneity and the unmatched fervour of his singing make his voice so unique and show undoubtedly that, 50 years after his death, Fritz Wunderlich has had no worthy successor. © 2016 Pizzicato

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