Liesl Müller Echoes The Authentic Music of the Golden Era

Muller is an icon. Probably, one of the very few and last remaining European Divas of the Golden Era of Paris, Vienna and Berlin nostalgic world of cabaret.

Erica Soderholm in the World Art Celebrities Journal writes that Liesl Müller is among artists who define what ‘La Chanson Française’ is all about. The article includes an ‘historical synopsis of French singers of the golden era - artists like Damia, Yvette Gilbert, Juliette Greco’. Homage is paid to remarkable American and Canadian singers like Raquel Bitton, Juliette Koka, and Joelie Rabu. International critics agree "Liesl Müller's music is a tribute to the singers, composers and librettists of the golden era. She uniquely presents the songs of yesteryear. Some songs of the thirties and forties can be sampled on Liesl Müller's Golden Era website. It is also a joy to listen to her authentic interpretation of Viennese songs of the twenties and earlier.Liesl Müller, an accomplished chansonniere in the classical tradition and a great admirer of Lotte Lenya and Ute Lemper, is herself an excellent interpreter of the work of Bertolt Brecht and Kurt Weill. "

A recent review of her CD in the international press goes like this:

"A refined lady who sings like a femme fatale chanteuse of "Les annees folles" and Paris Pigale of 1930. A warm and sinfully evocative voice which brings to life the magic, nostalgia and tender beauty of a vanished golden era of the early days of Cabaret and Kabaret of Paris and Berlin. Listening to Liesl Müller's "Paris Canaille" is a joyfully sad delight, because Liesl awakes in us cherished memories we lost for ever.
Liesl's interpretation of Edith Piaf's "Milord" is tenderly sublime. She did capture the intimate moments, the passion and the vocal virtuosity of Piaf. Liesl did not sing Piaf's biggest hit with a French flair. She did it her way; an honest, warm and emotionally captivating personal interpretation. Liesl Müller is an authentic cabaret chanteuse with class, style, finesse and emotions. She is the real thing! Her recent CD " Wien und der Wein" is a superb evocative interpretation of the golden era of early Paris and Berlin world of cabaret. The simple, yet melodiously beautiful musical arrangements, the fabulous accordion half java, half musette "flons flons", and the voice of Ms. Müller gave us a magnificent recording. The accompaniment of Caio Bescarano, Mario Cavaceppi and David Perkins are first class. And this is exactly what Ms. Muller needed to authentically and truthfully recapture the golden era of European cabaret. The song "Drunt' in der Lobau" (Down there in the Lobau) is a pure magic. It tells us the story of a woman who "cannot find the place where her young lover kissed her, but she does remember every bit of that wonderful moment when they kissed: nightingales were singing, happiness laughed from a thousand branches, and they dreamt of an everlasting love." Liesl did a superb job in singing that song. Wien und der Wein is a marvelous CD. Two thumbs up! Rating: 5 stars out of 5. Buy it. Get your copy. You will treasure it for many years to come. World Jewish News Agency.

A refined lady who sings like a femme fatale chanteuse of "Les annees folles" and Paris Pigale of 1930. A warm and sinfully evocative voice which brings to life the magic, nostalgia and tender beauty of a vanished golden era of the early days of Cabaret and Kabaret of Paris and Berlin. Listening to Liesl Müller's "Paris Canaille" is a joyfully sad delight, because Liesl awakes in us cherished memories we lost for ever. Liesl's interpretation of Edith Piaf's "Milord" is tenderly sublime. She did capture the intimate moments, the passion and the vocal virtuosity of Piaf. Liesl did not sing Piaf's biggest hit with a French flair. She did it her way; an honest, warm and emotionally captivating personal interpretation. Liesl Müller is an authentic cabaret chanteuse with class, style, finesse and emotions. She is the real thing! Her recent CD " Wien und der Wein" is a vocal and musical triumph.

The simple, yet melodiously beautiful musical arrangements, the fabulous accordion half java, half musette "flons flons", and the voice of Ms. Müller gave us a magnificent recording. The accompaniment of Caio Bescarano, Mario Cavaceppi and David Perkins are first class. And this is exactly what Ms. Muller needed to authentically and truthfully recapture the golden era of European cabaret. The song "Drunt' in der Lobau" (Down there in the Lobau) is a pure magic. It tells us the story of a woman who "cannot find the place where her young lover kissed her, but she does remember every bit of that wonderful moment when they kissed: nightingales were singing, happiness laughed from a thousand branches, and they dreamt of an everlasting love." Liesl did a superb job in singing that song. Wien und der Wein is a marvelous CD. Two thumbs up! Rating: 5 stars out of 5. Buy it. Get your copy. You will treasure it for many years to come.- Reviewer: Maximillien de Lafayette, syndicated columnist and art critic.

Herzlichen Glückwunsch zu dieser einladenden Zeitreise ins musikalische Wien der 20.Jahre.

Diese Musik muss die Interpretin als Kind tief in ihr Herz aufgenommen haben. Wenn Musik uns Zugang zu anderen Welten verschaffen kann, so ist liesl Müller dies ganz ausgezeichnet gelungen.

Sie nimmt uns in ein kleines Wiener Kaffeehaus mit und wenn der letzte Takt ihrer Musik verklungen ist, hängen wir dort noch lange unseren Träumen nach.

‘I enjoy a wide range of music from many sources. However, the interpretation and versatility of Liesl Müller in capturing the essence of the different traditions covered in this CD is quite superb.This is something that can be listened to again and again for the pleasure that a first-class performance brings to the listener.’

‘Liesl Müller sings French like a native with charm and verve, German like the Austrian she is, Rumanian hauntingly beautifully and English with an enchanting whiff of Central Europe. A captivating performance not to be missed.’

‘I am very old and find it difficult to follow modern pop. But in this CD every word is clear. I understood it all, except the Rumanian, and loved the beautifully modulated humorous rendition. I thank my grandson for having found this CD for me.’

‘‘‘I never do anything twice” sings Liesl Müller in a hilarious naughty number. This CD is a bargain with 20 wonderful tracks. The pianist is also superb. I recommend ‘It’s the way I Am’ to all cabaret enthusiasts.’

Cabaret is a very intimate art form. It is for small, crowded, often smoke-filled rooms, in restaurants or bars. It creates an especially close relationship between singer and audience. Miss Müller’s style has the conspiratorial, confidential, even confessional approach needed. Her excellent diction and the well enunciated conversational snippets tucked in between sung lines, means you cannot fail to get the point.

Miss Müller sings with the right kind of playful insouciance. But when it comes to Bertolt Brecht’s ‘Barbara’ we are confronted with a completely different personality. This is a violent, perverse song, the kind we imagine rightfully belonging to the psychologically aware world of pre-second world war Berlin.

Likewise there is a similar detached frankness in Stephen Sondheim’s song, ‘I never do anything twice’. ‘After you try it, you vary the diet ….. no matter how nice, I never do anything twice’.

There is something of the brothel about some of these songs – which is no accident. The early cabarets often took place in brothels where people drank at individual tables, waited on by willing girls as the cabaret singer urged on the idea of abandoning oneself to pleasure.

Yes, this is a fascinating CD. It gives pause for thought. Life and all that it entails goes on for ever.

Joel Barber
L.A. Music Review

Gestern Abend hörte ich Liesl Müllers neuest CD ‘It’s the Way I am’ – erstaunlich! Ich finde dass sich die Sängerin seit ihrer letzten Aufnahme ‘Lieder, die meine Mutter sang’ noch weiter entwichlt hat – oder lag das am neuen Material? Ich liebe ihre – meist melancholischen rumänischen Lieder, wie immer von ihrem brillianten Pianisten Otmar Binder einfühlend – warm begleitet. Man spürt, dass Liesl ihre Seele im rumānischen offen legt – was nicht heisst, dass die englisch, französich oder deutsch gesungenen Lieder und Chansons nicht auch erstklassig in Stil, Empfindung und Technik vorgetragen sind: Liesls Aussprache ist perfekt, ob es sich um Brecht/Weil schon fast Sprechgesang, amerikanischem Broadway – hit oder französischem chanson handelt: man versteht glas klar jedes Wort!

‘The Little Things’ offers a great selection of some of the most significant and beautiful songs and the way you interpret them in such a personal way makes them all the more significant and full of meaning – you passionately mean what you sing.’ Craig Robinson Coine, Florida, USA

‘I think ‘The Little Things’ is the best yet and to think I never wanted you to sing in English! I also appreciated your choice of song and the very individual interpretation of them all, especially the Lennon & Macartney.’ Allan Caister, Rome.

Diese Aufnahme hat mich sehr berührt. Der Stil verbindet Sprechgesang, Singen, singendes Sprechen und sprechendes Singen optimal mit mehr Ausdruckskraft und mehr Natürlichkeit, es schwingt wohl auch viel mehr “unwillkürlich”mit, aus der Tiefe der Person und ihrer Geschichte. Pia Ernstbrunner, Vienna

A legend, you all know her life story that you have read in Felix, and although I have only seen her a few times, I feel I know a lot about her. She lived in the Weintraubengasse in Vienna, a stone’s throw from where I used to live.

I got hold of 2 of her CDs and felt spoiled for choice, but decided to start with ‘Wien und der Wein’. It started with ‘Ich muss wieder einmal in Grinzing sein’. I was amazed, - I felt as though I was at an ‘Heurigen in Nußdorf’ with a glass of new wine. She still has that unique Viennese dialect. I continued and found the mood changed and so did her voice and accent. It changed to ‘Hoch-Deutsch’. As I am Viennese, I was singing a duet with her. By the last song ‘Im Prater blüh’n wieder die Bäume’, she had me in tears, as RobertStolz and the Prater are two of my favourites.

I waited a couple of hours and decided the time was right for the 2^nd CD, ‘It’s the Way I am’, further songs from Liesl Müller. Liesl starts off with September in the Rain and I said to myself, very interesting, to me she sounds French and not Viennese at all, when the 2^nd song ‘Je suis comme je suis’ started, I knew why I heard the French accent. There are a great variety of languages, as well as very exceptional songs, which I enjoyed very much.

Liesl is not only an International Cabaret Chanteuse, who sings in many languages, she is also an excellent actress the way she changes her voice and, although one cannot see her, one feels that she is there and one can see her movement and mimic whilst listening to her songs.