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You Mean the World to Me - Jonas Kaufmann (tenor); Julia Kleiter (soprano); Berlin Radio Symphony Orchestra; Jochen Rieder (conductor)
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  1. Gern hab' ich die Frau'n geküßt (Girls Were Made to Love and Kiss) (from "Paganini")
  2. Dein ist mein ganzes Herz (You Are My Heart's Delight) (from "Das Land des Lächelns")
  3. You Mean the World to Me (Du bist die Welt für mich), song
  4. Hab' ein blaues Himmelbett, for voice & piano (or orchestra) (from "Frasquita")
  5. Im Traum hast Du mir alles erlaubt (from Liebeskommando)
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  1. Gern hab' ich die Frau'n geküßt (Girls Were Made to Love and Kiss) (from "Paganini")
  2. Dein ist mein ganzes Herz (You Are My Heart's Delight) (from "Das Land des Lächelns")
  3. You Mean the World to Me (Du bist die Welt für mich), song
  4. Hab' ein blaues Himmelbett, for voice & piano (or orchestra) (from "Frasquita")
  5. Im Traum hast Du mir alles erlaubt (from Liebeskommando)
  6. Grüß mir mein Wien (Dear Home of Mine, Goodbye), song (from Gräfin Maritza)
  7. Irgendwo auf der Welt (from the film Der blonde Traum)
  8. Ein Lied geht um die Welt (used in the film) (a.k.a. " My Song Goes Round the World")
  9. Freunde, das Leben ist lebenswert, for voice & piano (or orchestra) (from "Giuditta")
  10. Reich mir nochmals zum Abschied die Hände
  11. Es muss was wunderbares sein (It Would Be Wonderful Indeed) (from "Im weissen Röss'l")
  12. Ich hab ein Diwanpüppchen, song
  13. Don't Ask Me Why (English version of Das Lied ist aus)
  14. Heute Nacht oder nie (Tonight or Never), song (as used in the film "Das Lied einer Nacht")
  15. Das Lied vom Leben des Schrenk (from Die große Sünderin)
  16. Glück, das mir verblieb
  17. Je t'ai donné mon coeur (from Pays du Sourire)
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After a fairly long period of relative obscurity, German tenor Jonas Kaufmann experienced a sharp rise in popularity once he hit his forties in 2009. Each of his albums outsold (or at least out-reached) the previous one, and he seems to have been deemed ready for the crossover treatment. Showing typical gravitas, Kaufmann avoided contemporary pop and even Broadway, reaching back to the world of German-language operetta between the world wars, and even including a few weighty serious opera numbers. The new audience hook ...

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