I am submitting these two interpretations of Doppelgaenger, both valid in my opinion, even if different
Fischer-Dieskau:
Richard Morrison:
Dieskau sings everything slowly and with very deliberate pronunciation, among other things with long unstressed consonants (especially the aspirated ones); in short, he seeks his expression this way and, as always, his motto is solidity.
Morrison, on the other hand, adheres more closely to the score, performs a beautiful crescendo and a true accelerando at the end; in short, he is more modern, and listen to that final high note, how beautiful.
What do you think?
