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See Terms & Conditions for p&p rates. | |  | Richard Strauss: The Complete Songs 5
Strauss, R: | Mädchenblumen (4 songs), Op. 22 Fruhlingsgedrange, Op. 26 No. 1 Morgen, Op. 27 No. 4 Hat gesagt - bleibt's nicht dabei, Op. 36 No. 3 Meinem Kinde, Op. 37 No. 3 Mein Auge Op. 37 No. 4 Herr Lenz Op. 37 No. 5 Junghexenlied, Op. 39 No. 2 Muttertändelei, Op. 43 No. 2 Einkehr, Op. 47 No. 4 Ich Schwebe, Op. 48 No. 2 Kling! Op. 48 No. 3 Brentano Lieder Op. 68, Nos. 1-6 |
A further instalment of this major Hyperion project introduces the American soprano Kiera Duffy, whose performances in the concert hall and on the opera stage have received the highest praise. This series, skilfully masterminded by the accompanist Roger Vignoles, is carefully shaped around the talents of each singer and strives to serve the cause of both neglected treasures and essential Strauss masterworks. The majority of the music in this beautifully shaped recital was composed between 1888 and 1900, with the exception of the glorious and virtuosic Op 68 Brentano-Lieder, which owes its richness and fluency to the composer’s experience of opera composition. Duffy gives an impeccable performance, revealing a deep understanding of the complexity of the music, and tackles the final expansive Lied der Frauen with unwavering stamina and faultless intonation. Perceptive booklet notes from Vignoles, and full texts and translations are also included. “Duffy's is a light, bright soprano with a stylish sense of phrasing and some rapturous top Bs in her armoury...Two stand out: the harmonically wayward 'Junghexenlied', where Duffy has the right abrasive edge and hint of witchy malice, and the radiant 'Als mir dein Lied erklang'” BBC Music Magazine, December 2011 *** “The main work here is the Brentano Lieder of 1918, and it is often said that no single soprano can perform the whole cycle adequately. Duffy manages better than most, partly because there is a cutting edge in her tone...Vignoles, the Strauss pianist par excellence, is infinitely supportive and keeps the volume down to a sensible level.” The Guardian, 10th November 2011 **** “The technically accomplished and conscientious American Kiera Duffy has the clean, bright tone required for the more upbeat numbers such as Kling, but her Morgen doesn’t float through the ether and elsewhere she can sound a little hard-edged.” The Telegraph, 11th November 2011 *** “She certainly gives a strong interpretation of the six Brentano Lieder, Op. 68, with Vignoles's powerful closing 'Lied der Frauen' a highlight...and both artists are equally impressive in the strongly characterised 'Junghexenlied'...Duffy is also appealing in the gentler songs, such as the tender 'Meinem Kinde', but elsewhere at times one wishes for more varied tonal colour and less climactic passion.” Gramophone Magazine, January 2012 “If the songs of Op. 68 are the most immediately compelling Lieder here, there are other treasures too...after an impeccable entry [in 'Morgen!'], Duffy embraces one of Strauss's most heartfelt melodies before darkening her silvery tone to huge effect in the final lines.” International Record Review, January 2012 | | | In stock - usually despatched within 1 working day. |
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| |  | Edita Gruberova & Friedrich Haider sing Strauss
Strauss, R: | Rote Rosen, AV76 Zueignung, Op. 10 No. 1 Nichts, Op. 10 No. 2 Die Nacht, Op. 10 No. 3 Allerseelen, Op. 10 No. 8 Wer hat’s getan Op. 10 No. 6 bis Barkarole, Op. 17 No. 6 Breit' über mein Haupt Op. 19 No. 2 Du meines Herzens Krönelein, Op. 21 No. 2 Cäcilie, Op. 27 No. 2 Morgen, Op. 27 No. 4 Blauer Sommer, Op. 31 No. 1 Wenn ..., Op. 31 No. 2 Liebeshymnus, Op. 32 No. 3 Wir beide wollen springen, AV 90 Glückes genug Op. 37 No. 1 Leises Lied, Op. 39 No. 1 Junghexenlied, Op. 39 No. 2 In der Campagna Op. 41 No. 2 Weihnachtsgefühl, WoO. 94 Ein Obdach gegen Sturm und Regen, Op. 46 No. 1 Morgenrot, Op. 46 No. 4 Einkehr, Op. 47 No. 4 Malven, AV 304 Blick vom oberen Belvedere, Op. 88 No. 2 Der Stern, Op. 69 No. 1 Der Pokal, Op. 69, No. 2 Lied der Frauen, Op. 68 Amor, Op. 68 No. 5 Als mir dein Lied erklang, Op. 68 No. 4 Säusle, Liebe Myrte, Op. 68 No. 3 An die Nacht, Op. 68 No. 1 Ich wollt ein Sträusslein binden, Op. 68 No. 2 Blindenklage, Op. 56 No. 2 In goldener Fülle Op. 49 No. 2 Waldseligkeit, Op. 49 No. 1 Winterweihe, Op. 48 No. 4 Kling! Op. 48 No. 3 |
“Gruberova, at the peak of her career, is a technically superb and perceptive interpreter in this extensive 1991 selection, matched by Haider's accompaniment. His original notes and translations are sadly lacking.” BBC Music Magazine, November 2009 **** | | | Usually despatched in 4 - 5 working days. |
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| |  | Strauss - Rote Rosen
Strauss, R: | Rote Rosen, AV76 Malven, AV 304 Leises Lied, Op. 39 No. 1 Junghexenlied, Op. 39 No. 2 Cäcilie, Op. 27 No. 2 Befreit, Op. 39 No. 4 Drei Lieder der Ophelia Op. 67 Allerseelen, Op. 10 No. 8 Ich Schwebe, Op. 48 No. 2 Muttertändelei, Op. 43 No. 2 Einerlei, Op. 69 No. 3 Schlechtes Wetter, Op. 69 No. 5 Das Rosenband, Op. 36 No. 1 Hat gesagt - bleibt's nicht dabei, Op. 36 No. 3 All mein Gedanken ... Op. 21 No. 1 Du meines Herzens Krönelein, Op. 21 No. 2 Meinem Kinde, Op. 37 No. 3 Mein Auge Op. 37 No. 4 Morgen, Op. 27 No. 4 with Ulf Wallin (violin) |
Richard Strauss, the great composer of symphonic poems and grand operas, wrote solo songs throughout his life: his first compositions, performed within his family circle, were songs and his setting of the poem Malven (Mallows) was to be the last piece he completed. Taking a keen interest in the possibilities and limitations of the human voice, Strauss in the solo song genre found the opportunity to try out various musical options and to discover his own individual style. But the writing of songs also served as a form of relaxation, a way of passing the time. The result is a varied spectrum of atmospheres, moods and emotions: from the jesting tone of Hat gesagt — bleibt’s nicht dabei to the heart-felt declaration of love in Cäcilie and the portrayal of madness of the Three Songs of Ophelia. Camilla Tilling, whose successful opera career in a very short time has taken her to some of the world’s most prestigious venues — including Covent Garden, the Metropolitan, La Scala and La Monnaie — made her international breakthrough in the role of Sophie in Strauss’s Der Rosenkavalier. Ever since, Strauss’s music has held a special place for her, and on her first solo recording she has chosen to perform some of her favourites among his songs. She is partnered by the fine German pianist Paul Rivinius, with violinist Ulf Wallin making a guest appearance in Morgen!, where he plays the solo that Strauss added when making an orchestral version of the song. Camilla recently starred in the recent production of Hansel and Gretel at the Royal Opera House, Covent Garden, to great acclaim: “But the second cast was terrific - better on points than the first, with a particularly enchanting Gretel from Camilla Tilling, who had…personal sweetness and vocal charm”. The Telegraph “The programme interweaves familiar songs with comparative rarities such as Junghexenlied and Mein Auge. Her Ophelia Lieder, placed at the halfway mark and gleaming with aggression as well as sorrow, ranks among the great Strauss performances. There's some lovely stuff elsewhere, too, all of it done with a great naturalness of expression that never turns arch.” The Guardian, 8th May 2009 **** | | | (also available to download from $10.75) | This item is currently out of stock at the UK distributor. You may order it now but please be aware that it may be six weeks or more before it can be despatched. (Available now to download.) |
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| |  | Edita Gruberova: The Teldec Recordings
Donizetti: | Il dolce suono mi colpì di sua voce! … Spargi d'amaro pianto (from Lucia di Lammermoor) | Haydn: | The Creation (extracts) | Mozart: | Mia speranza adorata... Ah, non sai qual pena, K416 Chamber Orchestra of Europe, Nikolaus Harnoncourt Voi avete un cor fedele, K217 Chamber Orchestra of Europe, Nikolaus Harnoncourt No, che non sei capace, K419 Chamber Orchestra of Europe, Nikolaus Harnoncourt Ma che vi fece, o stelle...Sperai vicino il lido, K368 Chamber Orchestra of Europe, Nikolaus Harnoncourt Misera, dove son? - Ah! non son' io che parlo! K369 Chamber Orchestra of Europe, Nikolaus Harnoncourt A questo seno deh vieni…Or che il cielo, K374 Chamber Orchestra of Europe, Nikolaus Harnoncourt Vorrei spiegarvi, oh Dio! K418 Chamber Orchestra of Europe, Nikolaus Harnoncourt Ah se in ciel, benigne stelle, K538 Chamber Orchestra of Europe, Nikolaus Harnoncourt Der Hölle Rache kocht in meinem Herzen (from Die Zauberflöte) Or sai chi l'onore (from Don Giovanni) Crudele? Ah no, mio bene! ... Non mi dir, bell'idol mio (from Don Giovanni) Dalla sponda tenebrosa (from Lucio Silla) | Strauss, J, II: | Klänge der Heimat (from Die Fledermaus) | Strauss, R: | Rote Rosen, AV76 Zueignung, Op. 10 No. 1 Nichts, Op. 10 No. 2 Die Nacht, Op. 10 No. 3 Allerseelen, Op. 10 No. 8 Wer hat’s getan Op. 10 No. 6 bis Barkarole, Op. 17 No. 6 Breit' über mein Haupt Op. 19 No. 2 Du meines Herzens Krönelein, Op. 21 No. 2 Cäcilie, Op. 27 No. 2 Morgen, Op. 27 No. 4 Blauer Sommer, Op. 31 No. 1 Wenn ..., Op. 31 No. 2 Liebeshymnus, Op. 32 No. 3 Wir beide wollen springen, AV 90 Glückes genug Op. 37 No. 1 Leises Lied, Op. 39 No. 1 Junghexenlied, Op. 39 No. 2 In der Campagna Op. 41 No. 2 Weihnachtsgefühl, WoO. 94 Ein Obdach gegen Sturm und Regen, Op. 46 No. 1 Morgenrot, Op. 46 No. 4 Einkehr, Op. 47 No. 4 Kling! Op. 48 No. 3 Winterweihe, Op. 48 No. 4 Waldseligkeit, Op. 49 No. 1 In goldener Fülle Op. 49 No. 2 Blindenklage, Op. 56 No. 2 An die Nacht, Op. 68 No. 1 Ich wollt ein Sträusslein binden, Op. 68 No. 2 Säusle, Liebe Myrte, Op. 68 No. 3 Als mir dein Lied erklang, Op. 68 No. 4 Amor, Op. 68 No. 5 Lied der Frauen, Op. 68 Der Stern, Op. 69 No. 1 Der Pokal, Op. 69, No. 2 Blick vom oberen Belvedere, Op. 88 No. 2 Malven, AV 304 | Verdi: | È strano! è strano!...Ah! fors è lui (from La traviata) |
Collected Teldec recordings from one of the most acclaimed coloraturas of recent decades. | | | In stock - usually despatched within 1 working day. |
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