Here is yet another of the new generation of Lieder artists recorded by Capriccio. Lorenz, although he is already 43 and has led an active career in opera and concert in both halves of Germany, doesn't seem to have appeared yet in the domestic catalogues. That is surprising as he is, on the strength of this record, an interpreter of the highest calibre. Strongly reminiscent in tone and style of Dietrich Fischer-Dieskau, and in that respect different from Olaf Bar, he is no mere clone of that distinguished artist. His voice, if I judge aright from this recorded evidence, is not so large as his predecessor's, but it has the same range and scrupulous control of dynamics.
The interpretation has many similarities with Fischer-Dieskau's. ''Aufenthalt'' is taken at the same deliberate, perhaps too deliberate pace. ''Der Atlas'' is almost too forceful, ''Am Meer'' is sung in a firm, exquisite mezza voce, ''Die Stadt'' in a haunting, veiled manner. ''Der Doppelganger'' has suitable awe and terror. But Lorenz can be different from his mentor. Often his somewhat lighter voice is better attuned to the task in hand, as in ''Liebesbotschaft'' and ''Das Fischermadchen'' and he signs off with a nicely airy ''Taubenpost''. In general, there is less resort to verbal emphasis, yet points are unerringly made. In sum, Lorenz seems to have encompassed Fischer-Dieskau's all-consuming influence while not being entirely dominated by it.
Norman Shetler, without being quite in the Moore class nor so perceptive as Brendel in Fischer-Dieskau's more recent, less satisfactory Philips reading, is never outclassed. Indeed, his rather less individual style is more of a piece with his partner's approach. The recording is admirably natural and evenly balanced. All in all, this is an interpretation that would be an asset to any collection, particularly one that does not already include Fischer-Dieskau's DG version with Moore.'