Strauss, R: Ah! Du wolltest mich nicht deinen Mund küssen lassen (from Salome) (Final Scene)

This page lists all recordings of Ah! Du wolltest mich nicht deinen Mund küssen lassen (from Salome) (Final Scene), by Richard Strauss (1864-1949) on CD, DVD & download (MP3 & FLAC). Generally, more recent releases are listed first, but with priority given to those that are in stock.

Recommendations

Opera Choice
October 2010
Critics' Disc of the Year
December 2010
Editor's Choice
June 2007

All recordings

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The Essential Montserrat Caballé

The Essential Montserrat Caballé


Bellini:

Oh! s'io potessi dissipar le nubi (from Il Pirata)

Col sorriso d'innocenza (from Il Pirata)

Casta Diva (from Norma)

Cilea:

Ecco: respiro appena. Io son l'umile ancella (from Adriana Lecouvreur)

Donizetti:

Tranquillo ei posa...Com'e bello (from Lucrezia Borgia)

Eccomi sola alfine (from Gemma di Vergy)

Leoncavallo:

Qual fiamma avea nel guardo!.... Hui! Stridono lassù (from I Pagliacci)

Puccini:

Si, mi chiamano Mimi (from La Bohème)

O soave fanciulla (from La Bohème)

Rossini:

Serbami ognor (from Semiramide)

Alle più calde immagini (from Semiramide)

Strauss, R:

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

Verdi:

Libera me (from Requiem)

È strano! è strano!...Ah! fors è lui (from La traviata)

Follie!…follie…delirio vano è questo… (from La traviata)

Sempre libera (from La Traviata)

Teneste la promessa...Addio, del passato (from La Traviata)

No, mi lasciate...Tu al cui sguardo onnipossente (from I due Foscari)

Che mi rechi?... La clemenza! (from I due Foscari)

Ciel, ch'io respiri! (from Aroldo)

Caro nome (from Rigoletto)

Wagner:

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


Sony Essential Classics - 88697214402

(CD - 2 discs)

$21.00

In stock - usually despatched within 1 working day.

Bernstein conducts Strauss and Boito

Bernstein conducts Strauss and Boito


Boito:

Prologue from "Mefistofele"

Strauss, R:

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

Salome: Dance of the Seven Veils

Cäcilie, Op. 27 No. 2

Wiegenlied, Op. 41 No. 1

Ich liebe dich Op. 37 No. 2

Morgen, Op. 27 No. 4

Zueignung, Op. 10 No. 1


Montserrat Caballe (soprano) [Strauss songs]

Orchestre National de France, Weiner Philharmoniker, Leonard Bernstein

Given Bernstein's sheer sweep of the music of Richard Strauss (the Salome excerpts are spine-tingling) it is a pity he didn't record any more. These precious recordings with Montserrat Caballe are valuable not only for Bernstein's advocacy of Strauss on record but also for the Spanish singer's shimmering interpretations - girl-like in the opera, ravishing in the five orchestral songs. The coupling, the famous extended Prologue from Boito's Mefistofele, complete with choral forces, is one of Bernstein's most sought-after recording and is done with all his characteristic élan. Long unavailable, this recording is restored to the catalogue at budget price.

Australian Eloquence - ELQ4762467

(CD)

$11.25

In stock - usually despatched within 1 working day.

Last Night of the Proms 2000

Last Night of the Proms 2000


Includes

Arne:

Rule, Britannia (from Alfred)

Jane Eaglen (soprano)

Delius:

The Walk to the Paradise Garden

Elgar:

Land of Hope and Glory

Pomp and Circumstance March No. 1 in D major, Op. 39 No. 1

Grainger:

Tribute to Foster

Mozart:

Violin Concerto No. 4 in D major, K218

Hilary Hahn (violin)

Parry:

Jerusalem

Strauss, R:

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

Jane Eaglen (soprano)

Wood, Henry:

Fantasia on British Sea Songs


PICTURE FORMAT: 16:9
LENGTH: 166 MINS
SOUND: DOLBY SURROUND
SUBTITLES: EN - SDH

“A fulsome farewell to Andrew Davis's 11-year tenure as the Proms conductor par excellence” Gramophone Magazine

DVD Video

Region: 0

Format: NTSC

Opus Arte - OA0851D

(DVD Video)

$29.00

In stock - usually despatched within 1 working day.

Camilla Nylund: Transfiguration

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)

Wagner:

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)


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.

“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.” BBC Music Magazine, April 2011

“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.” Classic FM Magazine ***

“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.” International Record Review, April 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” Gramophone Magazine, July 2011

Ondine - ODE11682

(CD)

$18.50

(also available to download from $10.50)

Usually despatched in 2 - 3 working days. (Available now to download.)

Great Strauss Scenes

Great Strauss Scenes


Strauss, R:

Was willst du, fremder Mensch? (from Elektra)

Eric Owens (bass-baritone)

Capriccio: Intermezzo (Moonlight Music)

Imprisonment Scene from Die Frau ohne Schatten, Op. 65

Eric Owens (bass-baritone)

Salome: Dance of the Seven Veils

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


This collection of music from the operas of Richard Strauss is performed by one of the leading singers of our time, the award-winning soprano Christine Brewer. The recording also features the Atlanta Symphony Orchestra under its highly regarded principal guest conductor Donald Runnicles, as well as the bass baritone Eric Owens, who joins her in the Recognition Scene from Elektra and the Imprisonment Scene from Die Frau ohne Schatten. Additionally the disc includes music from Capriccio and Salome.

Richard Strauss was one of the most successful opera composers of the 20th century. He is particularly well-known for writing strong roles for his heroines, not just the Marschallin in Der Rosenkavalier, but many more, from Salome and Elektra to the Countess in Capriccio.

Christine Brewer’s range, golden tone, and boundless power and control make her a favourite of the stage as well as a sought-after recording artist. Her other recordings on Telarc include Strauss’ Four Last Songs, also with Donald Runnicles and the Atlanta Symphony. In a glowing review of the disc, The Sunday Times said Christine Brewer “brings a soaring opulence to this music, the tone sumptuous and rounded, the top notes gleaming and full, unequalled by any other soprano in this music today.”

“Brewer sails through the test. Her Elektra is a young woman shocked into life by the arrival of Orestes...her voice lightened to give her youth as she waits; and then comes a seemingly unstoppable stream of luscious exultant tone...there's an unbearable beauty about Brewer's singing when she kisses the mouth of the dead Jokanaan. Donald Runnicles is a noble partner throughout” BBC Music Magazine, October 2010 ****

“Brewer's dramatic soprano voice, though large and opulent, never loses its warm, lyric core of purity. She soars effortlessly over the orchestra...[her] triumphant Salome is dangerous yet vulnerable - just as she should be.” Classic FM Magazine, November 2010 *****

“Be warned - the dynamic range is huge. It would be a good idea to let the neighbours know what is coming...Brewer is fully involved and in splendid voice, letting herself go at the top with a freedom she does not always manage in the theatre...at the climaxes the orchestra does not half let rip.” Gramophone Magazine, September 2010

“Christine Brewer, a superlative Strauss singer, wields her sumptuous voice to impressive effect in the recognition scene from “Elektra,” the imprisonment scene from “Die Frau Ohne Schatten” and the final scene from “Salome.”” New York Times, 26th November 2010

GGramophone Awards 2011

Shortlisted - Recital

CD Review

Critics' Disc of the Year - December 2010

BBC Music Magazine

Opera Choice - October 2010

Telarc - TEL3175502

(CD)

$18.50

Usually despatched in 4 - 5 working days.

Leonie Rysanek

Leonie Rysanek


Cherubini:

Dei tuoi figli la madre tu vedi (from Medee)

Janacek:

Ja, in all den zwanzig Wochen ... Im Augenblick? (from Jenufa)

Mascagni:

Voi lo sapete o mamma (from Cavalleria rusticana)

Puccini:

Mario! Mario! Mario! ...Son qui! ... Mia gelosa! (from Tosca)

Smetana:

Ist es wahr? Oh, wie plötzlich (from Dalibor)

Strauss, R:

Hörst du den Ton? Der lädt zu Gericht! (from Die Frau ohne Schatten)

Aus unseren Taten steigt ein Gericht! (from Die Frau ohne Schatten)

Vater, bist du's? (from Die Frau ohne Schatten)

Ich kann nicht sitzen und ins Dunkel starren (from Elektra)

Es gibt ein Reich (from Ariadne auf Naxos)

Marie Theres'! ... Hab mir's gelobt (from Der Rosenkavalier)

Christa Ludwig (Octavian) & Hilda de Groote (Sophie)

Da geht er hin (from Der Rosenkavalier, Op. 59)

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

Tchaikovsky:

Eugene Onegin (extracts)

Final Scene

Verdi:

Ritorna vincitor! (from Aida)

Sung in German as ' "Als Sieger kehre heim!" '

Wagner:

Elsa!... Wer ruft? (from Lohengrin)

Entweihte Götter (from Lohengrin)

Dies alles – hab’ ich nun geträumt? (from Parsifal)

Ich sah das Kind an seiner Mutter Brust (from Parsifal)


Vienna State Opera 1955-1991

Orfeo - Orfeo d'Or - Wiener Staatsoper live - C696072I

(CD - 2 discs)

$27.50

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.

Strauss, R: Four Last Songs, etc.

Strauss, R:

Four Last Songs

Capriccio: Intermezzo (Moonlight Music)

Morgen mittag um elf! (from Capriccio)

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

Gerhard Siegel (Herod)


Speaking of Nina’s interpretation of the Four Last Songs, Pappano enthuses: “I trust the warmth of Nina's voice. There are a lot of lighter voices that have recorded the piece but you have to remember that Kirsten Flagstad sang the premiere and it's that kind of ample voice with warmth and body - Nina's voice - that I think is too rarely heard in this repertoire.”

“Pappano and his orchestra (what solo playing!), while never hurrying, keep the forward pace of an attentive Lied accompanist - emotional points are made without milking, matching the cool beauty of the soloist's timbre. Stemme has vocal height and weight in equal measure and (again) really uses her text.” Gramophone Magazine, June 2007

“…Antonio Pappano never gets to record more than bleeding chunks of the Strauss operas… Yet nothing illustrates better his genius for going straight to the theatrical heart of the matter than the opening blaze of this Salome finale. It's both beautifully textured and keenly energised, and his sense of the drama seems to have rubbed off on Nina Stemme's Salome, poised between anger and nostalgia, and Gerhard Siegel's anxious Herod.” BBC Music Magazine, May 2007 *****

“To borrow a phrase from Richard Osborne, mighty tents are already pitched on these fields – for the Four Last Songs Schwarzkopf/Szell, Della Casa/Böhm, Norman/Masur; for the Salome finale Krauss/Cebotari, Welitsch/ Reiner and so on. But the conductor who has already got onto record a newly thoughtthrough Bohème, a Tosca that can hold its own with de Sabata's, and a modern Tristan with Domingo need fear no competition. All the hounds of hell are let loose by the ROH's percussion section to launch a wild, but always intricately shaped and detailed, account of young Princess Salome's sickly Liebestod.
Being already a searching, grown-up Isolde, Stemme, like her 1950s forerunners, now really manages to be a teenage Isolde too, by turns sweet, spooky and growing up.
The discs's running order is cunning and effective, and both conductor and soprano are in command of the switch to Madeleine's musicor- words dilemma. In Capriccio's Moonlight Interlude, as in the Songs, Pappano achieves richness without overweighting; his rubato lingers rather than indulges (like… but let's not compare). Stemme is a more torn and dramatic Countess than, say, Janowitz, Schwarzkopf or Della Casa; this performance harks back to Clemens Krauss and Viorica Ursuleac, emotion shaping the (fine) text, rather than vice-versa.
As if to create a valedictory survey of Strauss, the soprano voice and the orchestra, the start of 'Frühling' aptly seconds the Countess's mood.
Michael Tanner's note for the new remastering of Flagstad's creator's performance (see above) remarks how tempi in this work have got slower over the past 50 years. Pappano and his orchestra (what solo playing!), while never hurrying, keep the forward pace of an attentive Lied accompanist – emotional points are made without milking, matching the cool beauty of the soloist's timbre. Stemme has vocal height and weight in equal measure and (again) really uses her text. Finally, the record is produced and engineered with sensitivity to the layout of Strauss's instrumental and vocal textures.”
Gramophone Classical Music Guide, 2010

GGramophone Awards 2007

Finalist - Recital

GGramophone Magazine

Editor's Choice - June 2007

EMI - 3787972

(CD)

$18.50

Usually despatched in 2 - 3 working days.

In Memoriam - Ursula Schröder-Feinen

In Memoriam - Ursula Schröder-Feinen


Beethoven:

Abscheulicher! Wo eilst du hin? (from Fidelio)

Er sterbe!...Es schlägt der Rache Stunde (from Fidelio)

Peter Wimberger (Pizarro), Peter Meven (Rocco), Wold Appel (Jaquino)

O namenlose Freude! (from Fidelio)

Ernst Kozub (Florestan)

Strauss, R:

Die Frau ohne Schatten (highlights)

Hildegard Behrens (Empress), Linda Karén (Nurse), Matti Kastu (Emperor) & Gerd Feldhoff (Barak)

Orest! Orest! (from Elektra)

Siegmund Nimsgern (Orest)

Läßt du den Bruder nicht nach Hause, Mutter? (from Elektra)

Astrid Varnay (Klytamnestra)

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

Astrid Varnay (Herodias), Wilhelm Ernest (Herodes)

Wagner:

Schlafst du, Gast? Ich bin's! (from Die Walküre)

Gerd Brenneis (Siegmund)


Ursula Schröder-Feinen (soprano)

Chorus & Orchestra of the Deutschen Oper am Rhein/Arnold Quennet, Peter Schneider & Günther Wich

Live Recordings 1971-1977

Orfeo - Orfeo d'Or - C599061B

(CD)

$15.00

Usually despatched in 3 - 4 working days.

Bernstein conducts Strauss and Boito

Bernstein conducts Strauss and Boito


Boito:

Prologue from "Mefistofele"

Nicolai Ghiaurov

Strauss, R:

Salome: Dance of the Seven Veils

Cäcilie, Op. 27 No. 2

Wiegenlied, Op. 41 No. 1

Ich liebe dich Op. 37 No. 2

Morgen, Op. 27 No. 4

Zueignung, Op. 10 No. 1

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


“A luscious Straussfest, though Caballé's voice suits Salome better than the high-ranging songs. In the Boito extract, slow but thunderously awesome, Ghiaurov's sardonic demon rails at the majestic chorus.” BBC Music Magazine, May 2006 ****

DG Originals - E4775910

(CD)

$12.25

(Sorry, download not available in your country)

Usually despatched in 8 - 10 working days.

Lone Koppel: Live & Studio Recordings 1963-86

Lone Koppel: Live & Studio Recordings 1963-86

Many arias sung in Danish


Beethoven:

Abscheulicher! Wo eilst du hin? (from Fidelio)

Bellini:

O rendetemi la speme...Qui la voce sua soave...Vien, diletto (from I Puritani)

Brahms:

Nachtwandler, Op. 86 No. 3

Es träumte mir (No. 3 from Acht Lieder und Gesänge, Op. 57)

Ständchen, Op. 106 No. 1

Mädchenlied, Op. 85 No. 3

Mädchenlied, Op. 107 No. 5

Giordano, U:

La mamma morta (from Andrea Chénier)

Puccini:

Mario! Mario! Mario! ...Son qui! ... Mia gelosa! (from Tosca)

Vissi d'arte (from Tosca)

Sola, perduta, abbandonata (from Manon Lescaut)

Quando me'n vo (from La Bohème)

In quelle trine morbide (from Manon Lescaut)

Schubert:

Rosamunde, D797: Romance 'Der Vollmond Strahlt auf Bergeshöh'n'

Nacht und Träume, D827

Im Frühling, D882

Nur wer die Sehnsucht kennt, D877/4

Lachen und Weinen, D777

Die Sterne, D939 (Leitner)

Shostakovich:

Jeg ved en sø i skoven langt, langt herfra - Katerina Izmailova

Strauss, R:

Was willst du, fremder Mensch? (from Elektra)

Es gibt ein Reich (from Ariadne auf Naxos)

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

from Salome

Ständchen, Op. 17 No. 2

Die Nacht, Op. 10 No. 3

Schlechtes Wetter, Op. 69 No. 5

Verdi:

Tu che la vanità (from Don Carlo)

D'amor sull'ali rosee (from Il Trovatore)

Wolf, H:

Erstes Liebeslied eines Mädchens (No. 42 from Mörike-Lieder)

An eine Æolsharfe (No. 11 from Mörike-Lieder)

Er ist's (No. 6 from Mörike-Lieder)


Lone Koppel

Danacord - DACOCD623-624

(CD - 2 discs)

$25.75

(also available to download from $20.75)

Usually despatched in 4 - 5 working days. (Available now to download.)

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