Camilla Nylund: Transfiguration

Ondine: ODE11682

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Camilla Nylund: Transfiguration



Catalogue No:




Release date:

31st Jan 2011




73 minutes


CD (download also available)
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Camilla Nylund: Transfiguration

Strauss, R:

Mein Elemer! Das hat so einen sonderbaren (from Arabella)

O bleib' geliebter Tag (from Daphne)

Es gibt ein Reich (from Ariadne auf Naxos)

Ah! Du wolltest mich nicht deinen Mund küssen lassen (from Salome)


Einsam in trüben Tagen (from Lohengrin)

Dich, teure Halle (from Tannhauser)

Allmächt’ge Jungfrau! (from Tannhäuser)

Der Männer Sippe (from Die Walküre)

Mild und leise 'Isolde's Liebestod' (from Tristan und Isolde)



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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

BBC Music Magazine

April 2011

“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.”

Classic FM Magazine


“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.”

Gramophone Magazine

July 2011

“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”

International Record Review

April 2011

“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.”

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