Honorary Member of the Royal Academy of Music in London. 2010s In the late 2000s to 2014, he recorded a selection of Schubert lieder, The Goerne/Schubert Edition on 12 CDs, for Harmonia Mundi. The final volume, published in December 2014, received the highest rating in BBC Music magazine and a Diapason d'Or. His recording of Hanns Eisler lieder was awarded a Diapason d'Or de l'Année the same year. Highlights of the 2011/12 season included a tour with the Vienna Philharmonic, appearances at the Vienna State Opera and the Saito Kinen Festival (Bluebeard with Seiji Ozawa) and song recitals with Christoph Eschenbach, and Leif Ove Andsnes in Paris, Vienna and New York (Carnegie Hall). From 2012–2013, Matthias Goerne sang Wolfram at the Bavarian State Opera and Amfortas in concert with the Teatro Real in Madrid. Concert highlights included appearances with the Orchestre de Paris (Bluebeard), Berlin Philharmonic (War Requiem), Leipzig Gewandhaus Orchestra (Beethoven’s Ninth Symphony), Filarmonica del Teatro alla Scala (Mahler Lieder), Israel Philharmonic, and San Francisco Symphony (Wagner arias) as well as song recitals with Pierre-Laurent Aimard and Schubert cycles with Christoph Eschenbach at the Vienna Musikverein. 2020s In 2020, Goerne signed with Deutsche Grammophon for a trilogy of Lieder albums to be released in 2020, 2021 and 2022 with pianists Jan Lisiecki, Seong-Jin Cho and Daniil Trifonov, respectively. In 2021, German composer Detlev Glanert composed a setting for voice and orchestra of the poem Der Einsiedler (the hermit) by Joseph von Eichendorff especially for Goerne. It was performed by Goerne and the Concertgebouworkest under conductor Jaap van Zweden to critical acclaim. Personal life Goerne has an adopted son born in 1989, and a daughter born in 2000. His first marriage ended in divorce. He smoked cigarettes "a lot" early in life, but stopped after noting the detrimental effects on his voice. Goerne is not religious, although he does "have beliefs". Views on music Goerne has criticized the modern day relevance of opera productions, going so far as to state that most popular operas should not performed at all anymore because they have become outdated, no longer having "enough substance for the questions posed by our society". He has expressed a distaste for most contemporary art music from a vocal perspective, claiming that its focus on using the extremes of the voice, "singing very high or very low, very loud or very quietly", is not conducive to the expression of