If you are new to German Lieder or already a listener here are a few recommendations:
Johannes Brahms - Feinsliebchen, du sollst mir nicht barfuss gehn (from 49 Deutsche Volkslieder) Irmgard Seedfried; soprano, Erik Werba; piano
Gustav Mahler - Nun will die Sonn so Hell aufgehn (from Kindertotenlieder) Kathleen Ferrier; mezzo-soprano, Bruno Walter; conductor
Robert Schumann - Seit ich ihn gesehen (From Frauenliebe und Leben) Irmgard Seedfried; soprano, Erik Werba; piano
Franz Schubert - Gesänge Des Harfners Matthias Goerne; baritone, Andreas Haeflinger; piano
thanks to Procrastination Under a Groove for the recordings.
“I will speak somewhat softly, since speaking seems to tire me much more than singing, for what reason I do not know. We singers must think a little of our physical well being, you see. This means keeping regular hours, living very simply and taking a moderate amount of exercise.”
“So many young singers are so impatient; they want to prepare themselves in three or four years for a career. Perhaps they may come before a public after that length of time but they will only know a part, a little of all they ought to know. The singer who spends nine or ten years in preparation can sing anything, the music of the old as well as of the new.”
"I was sent to the Conservatorio and graduated with a gold medal as a pianist. This won me some distinction and enabled me to tour as a pianist. Mascagni called upon us at that time and I asked him to hear me sing. He threw up his hands saying, ‘Start to work at once to develop your voice.’ I went to two teachers in Milan but was so dissatisfied that I was determined that it would be necessary for me to develop my own voice.
It was no easy matter to give up the success which attended my pianistic appearances to be in a long term of self study and self development. I took a number of piano pupils and gave lessons for four years and in my spare time worked with my voice, all by myself, with my friend, the piano. My guiding principles were:
There must be as little consciousness of effort in the throat as possible. There must always be the Joy of Singing
Success is based upon sensation, whether it feels right to me in my mouth, in my throat, that I know, and nobody else can tell me.
I devoted most of my time to slower exercises at first. What could be simpler than this?