Dmitri Dmitriyevich Shostakovich:
Missverständnis from Satires (Pictures of the Past), Op. 109/4 (1960)
Richard Strauss:
Das Rosenband from 4 Lieder, Op. 36/1 (1897/98)
Max Reger:
Stelldichein from 4 Gesänge, Op. 88/2 (publ. 1905)
Wolfgang Amadeus Mozart:
An Chloe, K. 524 (1787)
Arnold Schoenberg:
Erwartung from 4 Lieder, Op. 2/1 (1899)
Wolfgang Rihm:
Hochrot from Das Rot (1990)
Carl Loewe:
Edward (1818) from 3 Balladen, Op. 1/1 (publ. 1823)
Franz Schubert:
Heidenröslein, Op. 3/3, D. 257 (1815)
Der Jüngling auf dem Hügel, Op. 8/1, D. 702 (1820)
Paul Dessau:
Lyrisches Intermezzo “Warum sind denn die Rosen so blaß?” (1919)
Den mutigen Achtzehn (1957)
Gustav Mahler:
No. 4, Wer hat dies Liedlein erdacht? from Des Knaben Wunderhorn (1892–96, rev. 1899-1901)
Kurt Weill:
No. 3, Marterl (Epitaph:
Die rote Rosa) from Berlin Requiem (1928)
Nanna’s Lied (1939)
No. 3, Marterl (Hier ruht die Jungfrau Johanna Beck)
Hugo Wolf:
Wer tat deinem Füßlein weh? from Spanisches Liederbuch (1890)
No. 44, Der Feuerreiter from Mörike-Lieder (1888)
Benjamin Britten:
The children from Who are these children?, Op. 84/11 (1969)
Hanns Eisler:
Die Heimkehr (1944)
Stefan Wolpe:
No. 1, Fantasie von übermorgen from 3 Lieder nach Gedichten von Erich Kästner
Rainer Bielfeldt:
Rinnsteinprinzessin (publ. 1993)

Red is the color of love and of roses, but also of blood, anger, and shame. Soprano Eva Resch delves into the multifaceted meanings of this color in her new concept album for GENUIN. Together with her piano partner Eric Schneider, she interprets songs spanning from the Classical era to the present – from Wolfgang Amadeus Mozart to Wolfgang Rihm. With her versatile voice, she traces the subtlest shades of human emotion and creates expressive character portraits that range from jubilant ecstasy to the depths of sorrow.