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Richard Strauss: 4 Lieder, Op. 36, TrV 186 (version for soprano and orchestra)
4 Lieder, Op. 36, TrV 186: No. 1. Das Rosenband (version for soprano and orchestra)
Richard Strauss: 6 Lieder, Op. 68, TrV 235 (version for soprano and orchestra)
No. 2. Ich wollt' ein Strausslein binden
No. 3. Sausle, liebe Myrthe
No. 4. Als mir dein Lied erklang
Richard Strauss: 5 Lieder, Op. 39, TrV 189 (version for soprano and orchestra)
5 Lieder, Op. 39, TrV 189: No. 4. Befreit (version for soprano and orchestra)
Richard Strauss: 4 Lieder, Op. 27, TrV 170 (version for soprano and orchestra)
4 Lieder, Op. 27, TrV 170: No. 1. Ruhe, meine Seele (version for soprano and orchestra)
Richard Strauss: 5 Lieder, Op. 41, TrV 195 (version for soprano and orchestra)
5 Lieder, Op. 41, TrV 195: No. 1. Wiegenlied (version for soprano and orchestra)
Richard Strauss: 6 Lieder, Op. 37, TrV 187
6 Lieder, Op. 37, TrV 187: No. 3. Meinem Kinde (version for soprano and orchestra)
Richard Strauss: 8 Gedichte aus Letzte Blatter, Op. 10, TrV 141 (version for soprano and orchestra)
8 Gedichte aus Letzte Blatter, Op. 10, TrV 141: No. 1. Zueignung (version for soprano and orchestra)
Richard Strauss: 4 Lieder, Op. 27, TrV 170 (version for soprano and orchestra)
4 Lieder, Op. 27, TrV 170: No. 4. Morgen (version for soprano and orchestra)
Richard Strauss: 6 Leider, Op. 56, TrV 220 (version for soprano and orchestra)
6 Leider, Op. 56, TrV 220: No. 6. Die heiligen drei Konige aus Morgenland (version for soprano and orchestra)
Richard Strauss: 4 Letzte Lieder (4 Last Songs), TrV 296
No. 1. Fruhling
No. 2. September
No. 3. Beim Schlafengehen
No. 4. Im Abendrot
2010
“Strauss singing doesn't come much better than this. No doubt the composer himself, with his love of the soprano voice, would have been enthralled by Isokoski's glorious singing. He might also have approved of Janowski's straightforward, quite brisk conducting as he was never one to sentimentalise his own music. With a combination of free, unfettered tone, not a hint of strain in high-lying passages, a fine legato and an amazingly long breath, Isokoski fulfils every demand of her chosen songs. To those attributes she adds just a hint of quick vibrato, which she uses unerringly to expressive purpose throughout. Add the depth of feeling she brings to inwardly emotional pieces such as Befreit, Ruhe meineSeele! and, above all, Morgen!, a perfect realisation of this oft-recorded piece, and you have performances to rival any of the greats of the past. She reminds one most of Lisa della Casa, the first soprano to record the Four Last Songs, and Sena Jurinac. She has the same smiling timbre, the same natural style, the same avoidance of wallowing in music that contains its own proportion of sentiment. Try the ecstatic execution of the final verse of 'Beim Schlafengehen' and you'll understand. If, on the other hand, you prefer a more leisurely approach, there are always Janowitz and Karajan. Janowski is obviously at one with his soprano, not only here but also in Zueignung. Refined playing from the Berlin Radio Symphony and an open recording complete the pleasure.”
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4 Lieder, Op. 36, TrV 186: No. 1. Das Rosenband (version for soprano and orchestra)
