Usually despatched in 2 - 3 working days. (Available now to download.)
Ondine is pleased to announce the new release from legendary Straussian soprano Soile Isokoski. A multiple award-winner, her recording of the Four Last Songs won a Gramophone Award in 2002.
The rarely recorded Three Hymns are coupled with arias from Ariadne auf Naxos, Der Rosenkavalier and Capriccio. Soile Isokoski performs those (and other) operas regularly at opera houses across the world including Vienna State Opera, Royal Opera House, Milan’s La Scala, the Semperoper in Dresden, Paris and at festivals including Salzburg, Edinburgh, Orange and Savonlinna.
Three Hymns is a major work, and places considerable vocal demands on the soloist. These atmospheric concert pieces show Strauss’ orchestration in full bloom.
Richard Strauss: Ariadne auf Naxos, Op. 60, TrV 228a
The Opera: Ein Schones war
The Opera: Es gibt ein Reich, wo alles rein ist
Richard Strauss: 3 Hymnen von Friedrich Holderlin, Op. 71, TrV 240
No. 1. Hymne an die Liebe
No. 2. Ruckkehr in die Heimat
No. 3. Die Liebe
Richard Strauss: Der Rosenkavalier, Op. 59, TrV 227
Act I: Die Zeit, die ist ein sonderbar' Ding
Act I: Da geht er hin
Richard Strauss: Capriccio, Op. 85, TrV 279
Capriccio, Op. 85, TrV 279: Andante con moto - Morgen mittag um elf!
“The main attraction of the programme is the Drei Hymnen, which do not come round in recordings very often...As each of her three Straussian heroines, she embodies a very touching, human vulnerability.”
30th September 2012
“Isokoski can match her great predecessors in her breath control. It’s good to have a souvenir of her distinguished Marschallin and her Madeleine...With Kamu’s Helsinki orchestra providing a lush underlay, Isokoski soars in the ecstatic Hölderlin settings.”
20th December 2012
“The beauty of Isokoski's singing, with its even, lustrous tone and quiet stylishness, almost goes without saying, and those qualities are at their most beguiling in the Three Hymns. The technical quality is just as high in the opera extracts, but those performances seem to lack a vital dimension.”