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See Terms & Conditions for p&p rates. | |  | The Very Best of Elisabeth Schwarzkopf
Bach, J S: | Cantata BWV51 'Jauchzet Gott in allen Landen': Aria Bist du bei mir, BWV508 | Beethoven: | O wär' ich schon mit dir vereint (Marzelline) | Heuberger: | Gehen wir ins Chambre séparée) from The Opera Ball | Humperdinck: | Brüderchen, komm tanz mit mir (Dance Duet from Hänsel und Gretel) | Lehár: | Viljalied (from Die lustige Witwe) | Mozart: | Non so più cosa son, cosa faccio (from Le nozze di Figaro) Porgi amor (from Le nozze di Figaro) E Susanna non vien! … Dove sono i bei momenti (from Le nozze di Figaro) In quali eccessi ... Mi tradì quell'alma ingrate (from Don Giovanni) Come scoglio (from Così fan tutte) Ridente la calma, K152 | Schubert: | An die Musik D547 Das Lied im Grünen, D917 Nachtviolen D752 (Mayrhofer) Der Musensohn, D764 (Goethe) | Siecynski: | Wien, du Stadt meiner Traüm | Smetana: | Endlich allein (from Die verkaufte Braut) | Strauss, J, II: | Klänge der Heimat (from Die Fledermaus) | Strauss, R: | Da geht er hin (from Der Rosenkavalier, Op. 59) Es gibt ein Reich (from Ariadne auf Naxos) Das war sehr gut, Mandryka (from Arabella) Frühling (from Vier Letzte Lieder) Im Abendrot (from Vier Letzte Lieder) Muttertändelei, Op. 43 No. 2 Zueignung, Op. 10 No. 1 | trad.: | Gsätzli | Wagner: | Einsam in trüben Tagen (from Lohengrin) | Weber: | Wie nahte mir der Schlummer … Leise, leise, fromme Weise (from Der Freischütz) | Wolf, H: | Auch kleine Dinge (No. 1 from Italienisches Liederbuch) Mein Liebster hat zu Tische mich geladen (No. 25 from Italienisches Liederbuch) Ich hab in Penna einen Liebsten (No. 46 from Italienisches Liederbuch) Verschling der Abgrund meines Liebsten Hütte Wiegenlied im Sommer (from Sechs Lieder für eine Frauenstimme) In dem Schatten meiner Locken (No. 2 from Spanisches Liederbuch: Weltliche Lieder) Mignon IV 'Kennst du das Land' (No. 9 from Goethe-Lieder) Mausfallen-Sprüchlein (from Lieder für eine Frauenstimme) |
Multi-award winning opera singer Elisabeth Schwarzkopf, praised for the ‘pristine beauty of her lyric soprano’ (The Guardian), was revered in opera houses worldwide and is perhaps most famous for her Mozart roles. However, she was also at home on the concert stage and this collection combines her acclaimed portrayals of Donna Elvira, Countess Almaviva and Richard Strauss’s Marschallin, among others, with her affecting interpretations of lieder and song-cycles. | 
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| |  | R. Strauss: Lieder
Strauss, R: | Allerseelen, Op. 10 No. 8 Schön sind, doch kalt die Himmelssterne, Op. 19, No. 3 Die Nacht, Op. 10 No. 3 Ich trage meine Minne, Op. 32 No. 1 Die Georgine Op. 10 No. 4 Ach Lieb, ich muß nun scheiden!, Op. 21 No. 3 Mein Auge Op. 37 No. 4 Meinem Kinde, Op. 37 No. 3 Muttertändelei, Op. 43 No. 2 All mein Gedanken ... Op. 21 No. 1 Ständchen, Op. 17 No. 2 Zueignung, Op. 10 No. 1 Das Rosenband, Op. 36 No. 1 Wie sollten wir geheim sie halten, Op. 19 No. 4 Du meines Herzens Krönelein, Op. 21 No. 2 Mein Herz ist stumm, Op. 19 No. 6 Befreit, Op. 39 No. 4 Morgen, Op. 27 No. 4 Cäcilie, Op. 27 No. 2 Drei Lieder der Ophelia Op. 67 Malven, AV 304 |
This CD features Finnish star soprano Soile Isokoski and her longstanding duo partner Marita Viitasalo, with a selection of Lieder by Richard Strauss. Included are such popular songs as Zueignung, Cäcilie, Morgen!, and Allerseelen. Along with the cycle of 3 Ophelia-Lieder and Strauss’s final complete composition, Malven, this collection spans 65 years of Strauss’ writing. The music of Richard Strauss has been a cornerstone of the singing career of Soile Isokoski: “His music just sits so well in my voice, in terms of both its range and its lyrical quality.” Soile Isokoskis’ earlier CD release of Strauss Orchestral Songs and Vier letzte Lieder (ODE9822) became a major commercial success and earned her a Gramophone Award. Soile Isokoski is hailed as one of the finest singers in the world (“Isokoski's lyric soprano is like liquid gold.” – David L. Kirk, Fanfare Magazine, March/April 2009) whose recordings have been praised as top-choice and garnered the highest distinctions at the BBC Music Magazine Awards, Gramophone Awards and MIDEM Classical Awards. “As always with Isokoski, one either finds a certain humanity in her less-than-rounded tones - or not. Such positive qualities burn from within during songs such as 'Zueignung' and 'Morgen!'...and especially in the lesser-known 'Befreit', a performance whose subtle empathy is a summation of what has always made Isokoski such an endearing figure on the operatic landscape.” Gramophone Magazine, May 2012 “a feat of some of Strauss's greatest solo songs, all sung with high intelligence, in impeccable German, in beautiful sound (the piano especially sympathetic, well-rounded), with accompaniments from Marita Viitasalo impeccably groomed, seldom obtrusive let alone assertive, and perhaps all the better for that...Isokoski does not always seek to cultivate the voice beautiful...She is adept at picking up every nuance” International Record Review, May 2012 “Isokoski begins with disarming lightness of touch...It's easy to forget that, at its core, this is a rich, almost heroic voice, modulating its way with seeming effortlessness through the bigger numbers at the heart of the recital...Isokoski's technique has stood the test of time...Viitasalo is clearly supportive...but more of an accompanist than an equal partner.” BBC Music Magazine, June 2012 **** “The intense, silvered beauty of her tone — less peachy and voluptuous than Fleming’s — and the unmannered clarity of her diction are unique in this music today...The strange Ophelia set, rarely programmed, can never have been more sumptuously sung.” Sunday Times, 24th June 2012 | | | (also available to download from $10.50) | In stock - usually despatched within 1 working day. |
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| |  | 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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| |  | Strauss: Four Last Songs
Strauss, R: | Four Last Songs Muttertändelei, Op. 43 No. 2 Waldseligkeit, Op. 49 No. 1 Zueignung, Op. 10 No. 1 Freundliche Vision, Op. 48 No. 1 Die heiligen drei Könige aus Morgenland Op. 56 No. 6 Ruhe, meine Seele!, Op. 27 No. 1 Meinem Kinde, Op. 37 No. 3 Wiegenlied, Op. 41 No. 1 Morgen, Op. 27 No. 4 Das Bächlein, Op. 88 No. 1 Das Rosenband, Op. 36 No. 1 Winterweihe, Op. 48 No. 4 |
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| |  | Gillian Keith bei Strauss
Strauss, R: | Fünf Lieder, Op. 48 Fünf kleine Lieder, Op. 69 Ständchen, Op. 17 No. 2 Schlagende Herzen Op. 29 No. 2 Das Bächlein, Op. 88 No. 1 Mädchenblumen (4 songs), Op. 22 Leises Lied, Op. 39 No. 1 Wiegenliedchen Op. 49 No. 3 Rote Rosen, AV76 Die erwachte Rose, TrV 90, AV 66 Malven, AV 304 Amor, Op. 68 No. 5 Muttertändelei, Op. 43 No. 2 Drei Lieder der Ophelia Op. 67 |
"I thank my Almighty Creator for the gift and inspiration of the female voice." R. Strauss Strauss displays a consistent ability to bring out the best in a singer, and soprano Gillian Keith - accompanied here by pianist Simon Lepper - amply showcases Straussʼ unique reverence for the female voice. In song-writing, as in orchestral music, Richard Strauss hit his stride early. His range and confidence is displayed in this group of songs; as the selection shows, he wrote some superb examples in his teens, and by his mid-twenties was already an assured master of the Lied; mastery which continued to develop into old age. Generations of singers have been inspired by Straussʼ devotion to song; from the dramatic, to the lyric, to the coloratura, Straussʼ songs offer something very special. In this recital of specially chosen Lieder are many songs which have earned their place in the repertoire, along with less-often heard works such as Mädchenblumen and Drei Lieder der Ophelia, which compliment those more familiar and are at the heart of this recital. One of Canadaʼs leading lyric sopranos, Gillian Keith made her Royal Opera Covent Garden debut as Zerbinetta in Straussʼ Ariadne auf Naxos, a role she has gone on to repeat with great success. A past winner of the prestigious Kathleen Ferrier Award, she has a natural affinity for Straussʼ music. | | | In stock - usually despatched within 1 working day. |
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| |  | R. Strauss: Lieder
Strauss, R: | Ich wollt ein Sträusslein binden, Op. 68 No. 2 Waldseligkeit, Op. 49 No. 1 Das Bächlein, Op. 88 No. 1 Winterweihe, Op. 48 No. 4 Morgen, Op. 27 No. 4 Allerseelen, Op. 10 No. 8 Cäcilie, Op. 27 No. 2 Amor, Op. 68 No. 5 Säusle, Liebe Myrte, Op. 68 No. 3 Freundliche Vision, Op. 48 No. 1 Ständchen, Op. 17 No. 2 Traum durch die Dämmerung, Op. 29 No. 1 Wiegenlied, Op. 41 No. 1 Meinem Kinde, Op. 37 No. 3 Muttertändelei, Op. 43 No. 2 Zueignung, Op. 10 No. 1 Das Rosenband, Op. 36 No. 1 Heimkehr, Op. 15 No. 5 Als mir dein Lied erklang, Op. 68 No. 4 Des Dichters Abendgang, Op. 47 No. 2 An die Nacht, Op. 68 No. 1 Lied der Frauen, Op. 68 |
“This is a performance of transcendent art” proclaimed Opera News on hearing Diana Damrau’s interpretation of Strauss’ Zerbinetta on her last Virgin Classics album, ‘Coloraturas’. In this collection of Strauss songs, recorded in the composer’s hometown, she is joined by the Munich Philharmonic and Christian Thielemann, the leading German conductor of his generation. Soprano Diana Damrau, described by The Sunday Times as “the most dazzling star to have emerged from Germany in recent years” was born in Bavaria. The region’s capital, Munich, was the birthplace of Richard Strauss, and in March 2009 a programme of the composer’s songs was presented at the city’s Gasteig Philharmonie, with Damrau accompanied by the Munich Philharmonic Orchestra under its Chief Conductor, Christian Thielemann. “Strauss loved female voices,” says Damrau, “and he explores some extreme possibilities in these many-layered songs, each with its different point of view. Sensitivity to the words is vital to telling the story of each song, to capturing the rapid changes of mood and all the colours.” Strauss’ operatic roles for lyric-coloratura soprano, notably Zerbinetta (Ariadne auf Naxos), Aithra (Die Aegyptische Helena) and Sophie (Der Rosenkavalier) have played an important role in Damrau’s career. As Opera News wrote when reviewing her last Virgin Classics album, ‘Coloraturas’: “Zerbinetta … is one of Damrau's calling cards, having served for her stupendous Met debut in 2005. ‘Grossmächtige Prinzessin’ provides every opportunity to dazzle the listener, with stratospheric high notes, staccatos, roulades and trills, as Zerbinetta cajoles, berates and mocks the gloomy Ariadne. Every note and word reveals Damrau's artistry, the result of constantly questioning and probing into the composer's intentions; while the soprano has a knack for concealing or highlighting technical difficulties at will, here just enough self-absorbed delight breaks to the surface that we are as captivated by Zerbinetta's own theatrical skills as by Damrau's vocal athleticism. Damrau/Zerbinetta even seems to be commanding the orchestra's responses to her whimsical, moody outbursts. This is a performance of transcendent art.” On the new CD, favourites such as ‘Ständchen’, ‘Wiegenlied’, ‘Allerseelen’, ‘Cäcilie’ and ‘Zueignung’ feature alongside more rarely heard numbers, and six tracks recorded under studio conditions now complement the sixteen songs captured live. “Always there is delicacy and an absolute respect for the silky legato that Strauss demands from his soloist. Damrau finds drama in these songs too...the songs that demand diamond-bright coloratura, runs and trills to affright a Zerbinetta hold no terrors...Thielemann has a very special affinity with singers. He also coaxes some fine playing from the Munich orchestra.” International Record Review, January 2011 “What wins this disc the five stars are the facts that Damrau, singing in her native German, is poised ideally between dreamy haze and Schwarzkopfian fussiness...her hallowed pianissimos allow the exquisite detail Thielemann draws from his Munich players to shine...the ineffable balance between voice and orchestra, subtly assisted by the engineering, is a treat throughout.” BBC Music Magazine, February 2011 ***** “Secure in technique, gifted in projecting drama and emotion, Damrau is a peach of a singer...The haunting music; the lyrical voice; the orchestra’s dappled array, with woodwinds curling like climbing roses and violins wafting with fragrant perfume: poesie indeed, in small doses.” The Times, 28th January 2011 **** “With a creamy-voiced soprano such as Renée Fleming, say, the results could be an excess of musical cholesterol, but Damrau’s diamantine timbre brings a welcome edge to the mix...She’s the leading Strauss soprano of the day, and her singing here shows exactly why.” Sunday Times, 30th January 2011 **** “her voice is not ideally voluptuous for Strauss, but she makes up for it by her exceptional musicality, investing every song with meaning, and her clarity of diction. The Munich Philharmonic under Christian Thielemann are splendid partners on a CD that must now be regarded as the best modern introduction to Strauss's songs” Mail on Sunday, 30th January 2011 **** “Her singing is consistently accurate and expressive. I particularly liked her 'Traum durch die Dämmerung', which caught the atmosphere of a secret tryst perfectly...She joins the group of younger sopranos such as Angelika Kirchschlager and Anne Schwanewilms among the leading lyric Strauss singers of the day.” Sunday Telegraph, 30th January 2011 **** “she is not merely a fair-weather soprano. Darker shades, more serious tones lie within her expressive scope than one might at first suppose...Familiar songs such as "Ständchen" gain new life with a smiling intimacy of approach in the first verse and an enriched suggestiveness as dusk falls in the third.” Gramophone Magazine, March 2011 “there are performances of such favourites as Morgen, Allerseelen and Wiegenlied, where her hovering, silvery soprano is heard to perfection...Not all the orchestrations are by Strauss: Christian Thielemann and the Munich Philharmonic really bring home just how marvellous his own instrumentation sounds when placed beside that of some of the other composers” The Guardian, 10th February 2011 **** “When did a German coloratura soprano last handle Richard Strauss’s orchestral songs with such grace and aplomb?...Damrau’s artistry is a combination of vocal noblesse, emotional warmth and instinctive intelligence.” Financial Times, 19th February 2011 **** “This gloriously romantic collection of orchestral settings of Strauss’s songs... shows [Damrau] at her stunning best. Outstanding tracks include Amor, with its airy, witty coloratura, and a magically slow yet gloriously alive Wiegenlied. The accompaniments, as might be expected from Thielemann’s baton, are quite superb.” The Telegraph, 25th February 2011 ***** “These songs demand a variety of vocal weights and colours, and Damrau seems to have it all...Thielemann and the Munich Phil revel in the rich orchestral colours and can be as light as air when required...Damrau brings effortless technique, beautiful tone and unfailing musical instinct to these songs.” Classic FM Magazine, April 2011 *****  BBC Music Magazine
Choral & Song Choice - February 2011 |
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| |  | Richard Strauss: Vier Letzte Liederand other songs
Strauss, R: | Four Last Songs Malven, AV 304 Hat gesagt - bleibt's nicht dabei, Op. 36 No. 3 Muttertändelei, Op. 43 No. 2 Madrigal, Op.15, No. 1 Ständchen, Op. 17 No. 2 Schlechtes Wetter, Op. 69 No. 5 Allerseelen, Op. 10 No. 8 Die Nacht, Op. 10 No. 3 Cäcilie, Op. 27 No. 2 All mein Gedanken ... Op. 21 No. 1 Begegnung (Meeting), AV 72 Morgen, Op. 27 No. 4 Zueignung, Op. 10 No. 1 |
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| |  | Strauss: Lieder
Strauss, R: | Xenion, AV131 Nichts, Op. 10 No. 2 Die Nacht, Op. 10 No. 3 Allerseelen, Op. 10 No. 8 Ständchen, Op. 17 No. 2 Cäcilie, Op. 27 No. 2 Heimliche Aufforderung, Op. 27 No. 3 Morgen, Op. 27 No. 4 Traum durch die Dämmerung, Op. 29 No. 1 Schlagende Herzen Op. 29 No. 2 Blauer Sommer, Op. 31 No. 1 Das Rosenband, Op. 36 No. 1 Hat gesagt - bleibt's nicht dabei, Op. 36 No. 3 Befreit, Op. 39 No. 4 Muttertändelei, Op. 43 No. 2 Freundliche Vision, Op. 48 No. 1 Waldseligkeit, Op. 49 No. 1 Säusle, Liebe Myrte, Op. 68 No. 3 Einerlei, Op. 69 No. 3 Schlechtes Wetter, Op. 69 No. 5 Four Last Songs |
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| |  | Emoción
Braga: | Capim di Pranta A Casinha Pequenina O'Kinimba Sao Joao-da-ra-rao Nigue-Nigue-Ninhas Engenho Novo | Hahn, R: | A Chloris Le printemps Le rossignol des lilas Mai La dernière valse | Obradors: | Al Amor La Mia sola, Laureola Del cabello más sutil Corazón, por qué pasáis Con amores, la mi madre El majo celoso Chiquitita la novia | Strauss, R: | Begegnung (Meeting), AV 72 Rote Rosen, AV76 Das Rosenband, Op. 36 No. 1 Die erwachte Rose, TrV 90, AV 66 Muttertändelei, Op. 43 No. 2 Meinem Kinde, Op. 37 No. 3 Ständchen, Op. 17 No. 2 |
Carolina Ullrich (soprano) & Marcelo Amaral (piano) The German-Chilean soprano Carolina Ullrich and the Brazilian pianist Marcelo Amaral present a programme of international lieder. Their choice of works reflects their own cultural background. This is their debut CD. | |
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| |  | Richard Strauss: Songs
Strauss, R: | Der Stern, Op. 69 No. 1 Einerlei, Op. 69 No. 3 Schlechtes Wetter, Op. 69 No. 5 Muttertändelei, Op. 43 No. 2 Ruhe, meine Seele!, Op. 27 No. 1 Cäcilie, Op. 27 No. 2 Blauer Sommer, Op. 31 No. 1 Das Rosenband, Op. 36 No. 1 Leises Lied, Op. 39 No. 1 Wiegenlied, Op. 41 No. 1 Des Dichters Abendgang, Op. 47 No. 2 Winterweihe, Op. 48 No. 4 Ständchen, Op. 17 No. 2 Meinem Kinde, Op. 37 No. 3 Drei Lieder der Ophelia Op. 67 Ich wollt ein Sträusslein binden, Op. 68 No. 2 Zueignung, Op. 10 No. 1 Die Nacht, Op. 10 No. 3 Die Verschwiegenen, Op. 10 No. 6 Die Zeitlose, Op. 10 No. 7 Allerseelen, Op. 10 No. 8 Waldseligkeit, Op. 49 No. 1 Ach, was Kummer, Qual und Schmerzen, Op. 49 No. 8 Morgen, Op. 27 No. 4 |
This delightful recital of Strauss songs by Dame Felicity Lott focuses on songs composed between 1885 and 1901, the years of Strauss’s richest song-writing genius. Partnered by her long-time collaborator, Graham Johnson, Dame Felicity sings various Nocturnes and Fantasies, songs about flowers, and then, grouped as “Valedictions and Lullabies”, some of Strauss’s best-known songs, including Allerseelen and Muttertändelei. The disc concludes with one of his best-loved songs, ‘Morgen’. This is the last of the four Op.27 wedding-gift songs for his wife, Pauline de Ahna: “…breathless rapture turned into music, one of the great songs of the world…” [Michael Kennedy, 2003] Dame Felicity Lott is considered one of the greatest sopranos of the 21st Century. Her operatic repertoire ranges from Handel to Stravinsky; and her formidable international reputation is as an interpreter of the great roles of Mozart and Strauss. Graham Johnson is recognised as one of the world’s leading vocal accompanists. He was made an OBE in the 1994 Queen's Birthday Honours list and he was also made an Honorary Member of the Royal Philharmonic Society in February 2010. “Lott was still at her peak when these recordings were made in 2002, and has a background of great affinity with the Strauss muse...Her voice and phrasing are still at their glorious finest, and so is her partnership with Johnson. The result is a magical recital, naturally recorded.” Gramophone Magazine, October 2012 “With Johnson's charmingly modest and unfailing attendance, this is a recital peppered with exquisite moments of Olympian power and heroic breath control from Lott. These qualities give the lie to the fact that her remarkable voice is into its sixth decade! It is almost ideal for Strauss here: warmly lyrical, clear, lithe and sensuously intoned, majestic in its dynamic and emotional colourings.” MusicWeb International, August 2012 | | | Usually despatched in 2 - 3 working days. |
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Gramophone Awards 2011
Gramophone Magazine