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Thomas Quasthoff was a thalidomide baby, growing to only about four feet tall and, in common with many of his fellow victims of the drug, has severely undeveloped arms. However, his voice and breathing apparatus are normal -- if a bass-baritone voice that is uncommonly magnificent can be considered normal.

When Quasthoff reached school age, he was assigned, according to government policy, to school programs designed for children with cerebral palsy. A lively, intelligent, and artistic child, Quasthoff clearly needed the stimulation of normal schooling, which a change in policy soon permitted. He was raised in a highly supportive environment, being treated in exactly the same way as his normal brother. The phrase he remembers being said most often to him when he was young was "Tommy, you can do that. Do it!" As a result he grew up with a sunny and optimistic outlook. Music was special to him. But when he tried to get a musical education, he found that the highly regarded conservatory to which he applied had a strict policy that all students had to learn to play piano, and turned him away on the grounds that this was impossible for him. "That was legally correct. I have to admit that," he says. "Morally -- well, that raises a big question."

His parents procured private voice lessons for him with Charlotte Lehmann, a concert singer of Hannover. She taught him for 17 years, and proved a superb voice teacher. The great baritone Dietrich Fischer-Dieskau said "It's clear to everyone who has heard Thomas Quasthoff that he has a wondrously beautiful voice and that he has had excellent previous training...."

While studying, Quasthoff found a position as a radio announcer in Hannover, becoming highly popular. In 1988 he won first prize in voice at the prestigious ARD music competition of Munich. This led to his beginning a concert and recital career that rapidly grew, although cautiously, Quasthoff retained his radio job for six more years. He finally adopted music as his full-time profession in 1996, the year he won the Shostakovich Prize in Moscow and the Hamada Trust/Scotsman Festival Prize, and in 1998 he won the Echo Prize. In 1996 he was appointed professor at the Detmold Music Academy, where he was one of the most popular voice teachers. He was also associated with the University of Oregon at Eugene, where he appeared regularly in the Oregon Bach Festival.

He has performed with many leading orchestras and conductors. His repertory includes the great choral/vocal/orchestral works of Bach, Mozart, Beethoven, Berlioz, Brahms, Mahler, and Britten. He sings opera arias in his programs, and has sung operatic roles in recordings of Beethoven's Fidelio, Haydn's L'Anima del Philosopho, and Schumann's Genoveva. It wasn't until 2003 that he appeared in opera on stage, in Fidelio (as Don Fernando) and in 2004 as Amfortas in Parsifal. Quasthoff is also a great fan of other vocal music and dedicated 2007's Watch What Happens to jazz songs and 2010's Tell It Like It Is to soul and pop songs.

He has recorded on the Hännsler, MDG, RCA, Teldec, Orfeo, and Philips labels, and since mid-1999 has been an exclusive artist on Deutsche Grammophon.

The Münchner Philharmoniker (Munich Philharmonic) is an orchestra with a troubled past but a bright future. Tainted by its association with Nazism during World War II, the orchestra was led in the early 1980s by the notoriously mercurial Sergiu Celibidache. Although it had roots stretching back to the beginning of the 19th century, the Munich Philharmonic really began in 1893 with establishment of the Kaim Orchestra, founded by a private donor of that name. During World War I, the orchestra foundered, and after the war it was taken over by Munich's city government and given the Münchner Philharmoniker name. Under conductor Hans Pfitzner in the 1920s the orchestra improved, but in the 1930s it began using a swastika logo and billed itself as the orchestra of fascism. Once again, the group had to rebuild after World War II, with Rudolf Kempe among the conductors who raised it to international stature. A key event in the orchestra's history was the elevation of Sergiu Celibidache to the music directorship in 1979; his leadership had both positive (his interpretations were novel and rigorously rehearsed) and negative impacts (he became embroiled in an expensive and ultimately successful sex discrimination lawsuit filed by American trombonist Abbie Conant, who had won her place in a blind audition). Celibidache also declined to make recordings, believing the concert experience could not be duplicated. That situation changed slowly in the 21st century with prominent new music directors after Celibidache's death. These have included James Levine, Christian Thielemann, Lorin Maazel, and, since 2014, Valery Gergiev, who has recorded several albums and used the orchestra as a showcase for his instrumental-music thinking in large late Romantic works, including the symphonies of Mahler. Gergiev and the orchestra have embarked on a cycle of Anton Bruckner's symphonies; their recording of the Symphony No. 1 in C minor appeared in 2018 on the orchestra's own label. Since 1985, the orchestra's home has been Munich's handsome Gasteig Culture Center. ~ James Manheim

Conductor Christian Thielemann has been a major force in both operatic and symphonic music in his native Germany, serving since 2012 as conductor of the Staatskapelle Dresden. He is considered one of the world's top interpreters of the music of Wagner and Richard Strauss.

Thielemann was born in what was then West Berlin on April 1, 1959. As a youth, he took lessons on several instruments, played viola in the German Youth Orchestra, and studied at Berlin's Hochschule für Musik. Thielemann's career began early as he landed posts as assistant to conductor Heinrich Hollreiser at the Deutsche Oper Berlin, when he was just 19, and then to Herbert von Karajan at the Berlin Philharmonic. He also served as an assistant to Daniel Barenboim at the Bayreuth Festspielhaus. In 1985, Thielemann got his first principal conductor post, with the Deutsche Oper am Rhein in Düsseldorf. He held successively more important operatic posts, becoming general music director of the Nuremberg Opera in 1988 and rising to the same post at the Deutsche Oper Berlin in 1997. Although most of his activities were in Germany, he was principal guest conductor at the Teatro Comunale of Bologna in the '90s and made guest appearances with the Metropolitan Opera in New York and the San Francisco Opera, among other top companies abroad.

Thielemann made his first conducting appearance at the Bayreuth Festival in 2000, and soon he became a favorite of festival director Wolfgang Wagner, grandson of composer Richard Wagner, to whose works Bayreuth has served as a kind of shrine. He became chief musical advisor at Bayreuth in 2008 and has continued to conduct Wagner performances there, although he left his formal post in 2021. In 2000, a letter appeared in the Frankfurt Allgemeine Zeitung quoting an anti-Semitic remark by an unnamed figure in Berlin's musical establishment and aimed at Barenboim's directorship of the Berlin State Opera. It was alleged that the statement had come from Thielemann, who denied it vociferously; Barenboim said that in the absence of solid evidence, he accepted Thielemann's claim. Whatever his political views, Thielemann qualifies as a cultural conservative; he rarely conducts music from later than the early 20th century, and this has held true even as more of his activities have been devoted to instrumental music.

As chief conductor of the Münchener Philharmoniker ("Munich Philharmonic") from 2004 to 2011, and of the Staatskapelle Dresden ("Dresden State Orchestra") since 2012, he has emphasized German and Austrian music from Mozart to Bruckner in his repertory. He will leave the Staatskapelle Dresden in 2024. In 2015, Thielemann was in the running for the coveted post of music director of the Berlin Philharmonic, but orchestra members split between him and Andris Nelsons. Eventually, a third candidate, Kirill Petrenko, was appointed. Thielemann serves as director of the Salzburg Easter Festival, departing in 2021. He has made many recordings with the Münchener Philharmoniker and the Staatskapelle Dresden, most of them released on the Deutsche Grammophon label, and in 2019, he conducted the Vienna Philharmonic's popular annual New Year's Concert for the first time. Thielemann has continued to record prolifically with the Staatskapelle Dresden and increasingly often with the Vienna Philharmonic; with the latter group, he began a cycle of live performances of Bruckner symphonies on Sony Classical, the same label that had issued his Beethoven and Schumann cycles. In 2022, his recording of Bruckner's Symphony No. 2 in C minor appeared. By that time, his catalog comprised more than 75 recordings. ~ James Manheim