Pianist Reiko Uchida and I recorded this album in Clonick Hall at Oberlin Conservatory on an extraordinarily beautiful Viennese fortepiano built in 1829 by Anton Zierer.

Paul Eachus was producer, engineer, digital editor and mastering engineer. Robert Murphy prepared the instrument. Tanya Rosen-Jones took the artist photos. Ming-Fang Hsieh designed the package.

Here is a PDF file of my translation.

AUDIOPHILE AUDITION
But what I love about this recording is really one of the same things that was so intriguing on Winterreise—the sense of lyrical buoyancy, a lightness of touch that adds so much in the way of flavor and response. You can almost hear the young man of the cycle speaking to you in normal, excited vocal tones, a conversational engagement of very personal quality. Meglioranza’s ability to speak music in this manner greatly enhances the work’s character and draws the listener into an almost disturbingly intimate tale, as if in hushed, enervated conversation. Reiko Uchida, this time playing an 1829 Anton Zierer fortepiano, must be given equal kudos in an amazingly supportive—no, collaborative role. Another must have, and I have a feeling it won’t be the last.

EARLY MUSIC AMERICA MAGAZINE
Meglioranza's fresh sounding voice and easy delivery serve him well here in his role as a young, vulnerable suitor. [Uchida] takes easily to the Zierer fortepiano, and her sensitive touch and clear articulation produce a vast range of colors and moods.

THE WHOLE NOTE
Meglioranza’s fine baritone, intelligent singing and impeccable German diction, thoroughly inside the poetry, with sympathetic and stylish accompaniment by Ms. Uchida, deserves Fischer Dieskau’s praise and mine too.

THE ARTS FUSE
Meglioranza’s diction and intonation are faultless throughout and his accounts of the opening lieder brim with energy and spirit...Uchida, playing an 1829 fortepiano, delivers an accompaniment that’s clean-toned and rhythmically incisive...At the same time, there’s a glowing warmth to her playing in the lyrical songs...The pair’s is, in the end, a deeply-felt and touching reading of this familiar set of songs. For beauty of tone and sincerity of interpretation, they won’t lead you astray.

RAFAEL DE ACHA’S MUSIC NOTES
Welcome the golden voiced baritone Thomas Meglioranza, whose partnership with the gifted Reiko Uchida yields splendid results in their just-released CD, titled Die schöne Müllerin. There is much to celebrate here, including both artists’ uncomplicated, unaffected approach that mercifully avoids over-interpretive eccentricity. A valuable addition to the libraries of those who love German Lieder.