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Transfiguration is acclaimed star soprano Camilla Nylund’s much-awaited first album of arias.
This CD portrays the lyric-dramatic soprano with famous arias and scenes from operas by Richard Strauss and Richard Wagner, including the grueling final scenes from Tristan und Isolde and from Salome.
The featured arias reflect the lyrical and dramatic facets of Camilla Nylund’s current roles at such venues as Staatsoper Dresden, Vienna State Opera, and Bayreuther Festspiele.
The Tampere Philharmonic Orchestra is led by their chief conductor Hannu Lintu.
CD booklet also includes full libretti.
Richard Wagner: Lohengrin
Lohengrin, Act I: Einsam in truben Tagen
Richard Wagner: Tannhauser
Act II: Dich, teure Halle
Act III: Allmacht'ge Jungfrau! Hor mein Flehen!
Richard Wagner: Die Walkure
Die Walkure, Act I: Der Manner Sippe
Richard Wagner: Tristan und Isolde
Tristan und Isolde, Act III: Mild und leise
Richard Strauss: Arabella, Op. 79, TrV 263
Arabella, Op. 79, TrV 263, Act I: Mein Elemer!
Richard Strauss: Daphne, Op. 82, TrV 272
Daphne, Op. 82, TrV 272: O bleib, geliebter Tag!
Richard Strauss: Ariadne auf Naxos, Op. 60, TrV 228a
Ariadne auf Naxos, Op. 60, TrV 228a: Es gibt ein Reich
Richard Strauss: Salome, Op. 54, TrV 215
Salome, Op. 54, TrV 215: Es ist kein Laut zu vernehmen
“Nylund is temperamentally suited to this kind of thing - Isolde's so-called Liebestod is the disc's big success...yet she manages the conversational tone of [the Arabella scene] well, and her long address to the tree in Daphne is attractive too.”
“Camilla Nylund's soprano isn't classically 'Finnish' - it doesn't have that thick translucence, agility and piercing top-end focus - but it does boast considerable strength and a remarkable consistency of tone across its range...the voice's edge and power reveal the nihilistic desperation of both [Isolde and Salome], and the Tampere Philharmonic Orchestra finds extra reserves of warmth, shape and snarl beneath her.”
“An intelligent musician, she is also exceptionally attractive and a fearless actress...the voice is youthful, solid, flexible and at ease in negotiating the high tessitura.”
“The Finnish soprano's cool 'in-between' soprano - big lyric but definitely not hochdramatisch - speaks well in the numbers that do not require outright personal emotions. She evokes an affecting degree of dreamy distance in Elsa's account of her mysterious saviour...Lintu (like Pappano) and Ondine's recordists give us an extraordinary amount of detail”