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See Terms & Conditions for p&p rates. | |  | 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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| |  | 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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| |  | 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 $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | Richard Strauss: The Complete Songs 1
“Pianist and presiding spirit Roger Vignoles takes us on a select chronological jaunt, making sure Brewer boldly goes to the heart of the bigger numbers where lesser voices would fear to tread. Her glorious instrument, fine-tuned from top to bottom, effortlessly negotiates some of Strauss's more outlandish intervals.” BBC Music Magazine, June 2005 **** “There seems to be no challenge that Christine Brewer and Roger Vignoles can’t meet in these opulent songs. Brewer’s soaring voice offers a fabulous range of colour and dynamics, and Vignoles matches her with a truly orchestral palette at the keyboard” Classic FM Magazine “Christine Brewer … combines opulent, blazing tone, fearless top notes and surprising agility” Daily Telegraph “This is the first volume in Hyperion's Richard Strauss edition, something to be devoutly hoped for: he was a great Lieder composer but only a small fraction of his 200-plus songs are at all well known. Admittedly, his taste in poetry wasn't always as elevated as that of his fellow composers, yet his music can transform rather ordinary verses. And the major poets do get a look-in.
This disc includes two Heine settings, one of which, 'Frühlingsfeier', came a year after Salome and echoes the operatic score. This is where Christine Brewer, whose repertory includes the title-roles in Ariadne auf Naxos and Die ägyptischeHelena, might be expected to be most comfortable: her big, gleaming soprano sweeps through impressively. If at first her voice seems less than ideally flexible as a Lieder instrument, especially in the earlier songs, it would be ungrateful not to marvel at what she does ultimately bring to these performances.
Opening with 'Zueignung', which Strauss never intended to be relegated to encore status, Brewer sounds glorious if a little staid. But she quickly lightens up, catching the palpitations of 'Wie sollten wir geheim sie halten' and the gem-like intimacy of 'Leises Lied'. She positively blazes in the sunlight-evoking 'In der Campagna', where Vignoles's piano captures the splash of a Straussian orchestra. Both artists bring something fresh to the chestnuts 'Allerseelen' and 'Wiegenlied', in which Brewer floats a beautiful line over the rippling accompaniment. Having the high tessitura demanded in the rarely heard Gesänge des Orients, she clinches any remaining argument magnificently.” Gramophone Classical Music Guide, 2010 “At all times Brewer and Vignoles work together hand in glove … This is a properly equal partnership that bodes very well indeed for this admirable project. Brewer and Vignoles set high standards for anyone who
would record Strauss now and for future collaborations on Hyperion too!” International Record Review “Christine Brewer in magisterial voice … a major project, beautifully performed and presented” The Independent “Could there be a more enticing title stamped across a CD than Strauss: The Complete Songs – 1? Richard Strauss the man may be widely resistible; but it would take someone extraordinarily hard-hearted not to take any delight in his luxuriant imagination and succulent harmonies … each planned CD in the series will be shaped around the talents of different singers, and Brewer’s disc marks a tremendous start” The Times | | | Usually despatched in 2 - 3 working days. |
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| |  | Songs by Richard Strauss
Strauss, R: | Die Drossel Ach, was Kummer, Qual und Schmerzen, Op. 49 No. 8 Ach Lieb, ich muß nun scheiden!, Op. 21 No. 3 Die Nacht, Op. 10 No. 3 Der müde Wanderer, Op. 13 Das Bächlein, Op. 88 No. 1 Lass ruh'n die Toten, WoO. 35 Allerseelen, Op. 10 No. 8 Abend- und Morgenrot Ruhe, meine Seele!, Op. 27 No. 1 Wiegenlied, Op. 41 No. 1 In goldener Fülle Op. 49 No. 2 Nebel Du meines Herzens Krönelein, Op. 21 No. 2 Weihnachtsgefühl, WoO. 94 Wiegenliedchen Op. 49 No. 3 Leises Lied, Op. 39 No. 1 Schlagende Herzen Op. 29 No. 2 Weihnachtslied, Op. 2 Morgen, Op. 27 No. 4 Wer lieben will, muss leiden Op. 49 No. 7 Wie sollten wir geheim sie halten, Op. 19 No. 4 Ein Röslein zog ich mir im Garten, Op. 49 Gefunden Op. 56 No. 1 All mein Gedanken ... Op. 21 No. 1 Zueignung, Op. 10 No. 1 |
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| |  | Richard Strauss - Songs
Strauss, R: | Waldseligkeit, Op. 49 No. 1 Die Nacht, Op. 10 No. 3 Ständchen, Op. 17 No. 2 Leises Lied, Op. 39 No. 1 Schlechtes Wetter, Op. 69 No. 5 Des Dichters Abendgang, Op. 47 No. 2 Der Stern, Op. 69 No. 1 Die Verschwiegenen, Op. 10 No. 6 Die Zeitlose, Op. 10 No. 7 Blauer Sommer, Op. 31 No. 1 Ich wollt ein Sträusslein binden, Op. 68 No. 2 Ruhe, meine Seele!, Op. 27 No. 1 Allerseelen, Op. 10 No. 8 Einerlei, Op. 69 No. 3 Meinem Kinde, Op. 37 No. 3 Wiegenlied, Op. 41 No. 1 Muttertändelei, Op. 43 No. 2 Zueignung, Op. 10 No. 1 Winterweihe, Op. 48 No. 4 Das Rosenband, Op. 36 No. 1 Cäcilie, Op. 27 No. 2 Ach, was Kummer, Qual und Schmerzen, Op. 49 No. 8 Drei Lieder der Ophelia Op. 67 Morgen, Op. 27 No. 4 |
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| |  | Night Songs
Debussy: | Beau Soir Mandoline (Verlaine) Apparition - song (1884) Trois Chansons de Bilitis | Fauré: | Clair de Lune, Op. 46 No. 2 Mandoline, Op. 58 No. 1 (Verlaine) Après un rêve, Op. 7 No. 1 Soir Op. 83 No. 2 Nell, Op. 18 No. 1 | Marx: | Nocturne Nachtgebet Selige Nacht Pierrot Dandy | Rachmaninov: | How fair this spot, Op. 21 No. 7 V molchanii nochi taynoy, Op. 4 No. 3 Rechnaya lilya Op. 8 No. 1 Sleep, Op.38, No. 5 Eti letniye nochi Op. 14 No. 5 Ne poy, krasavitsa, pri mne, Op. 4 No. 4 | Strauss, R: | Ruhe, meine Seele!, Op. 27 No. 1 Schlechtes Wetter, Op. 69 No. 5 Leises Lied, Op. 39 No. 1 Leise Lieder, Op. 41a No. 5 Cäcilie, Op. 27 No. 2 |
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| |  | Richard Strauss - Lieder Recital
Strauss, R: | Wiegenlied, Op. 41a No. 1 Meinem Kinde, Op. 37 No. 3 Muttertändelei, Op. 43 No. 2 Du meines Herzens Krönelein, Op. 21 No. 2 Waldseligkeit, Op. 49 No. 1 Heimkehr, Op. 15 No. 5 Einerlei, Op. 69 No. 3 Ständchen, Op. 17 No. 2 Traum durch die Dämmerung, Op. 29 No. 1 Die Nacht, Op. 10 No. 3 Freundliche Vision, Op. 48 No. 1 Hat gesagt - bleibt's nicht dabei, Op. 36 No. 3 Ach Lieb, ich muß nun scheiden!, Op. 21 No. 3 Lob des Leidens, Op. 15 No. 3 Mit deinen blauen Augen, Op. 56 No. 4 Morgen, Op. 27 No. 4 Mein Herz ist stumm, Op. 19 No. 6 Schlechtes Wetter, Op. 69 No. 5 Leises Lied, Op. 39 No. 1 Seitdem dein Aug' in meines schaute, Op. 17 No. 1 Befreit, Op. 39 No. 4 Allerseelen, Op. 10 No. 8 Cäcilie, Op. 27 No. 2 |
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| |  | Evelyn Lear Sings Songs by Richard StraussSalzburg & Vienna 1964 & 1965
Strauss, R: | Ständchen, Op. 17 No. 2 Morgen, Op. 27 No. 4 Mein Herz ist stumm, Op. 19 No. 6 Leises Lied, Op. 39 No. 1 Allerseelen, Op. 10 No. 8 Schlechtes Wetter, Op. 69 No. 5 Ich wollt ein Sträusslein binden, Op. 68 No. 2 An die Nacht, Op. 68 No. 1 Säusle, Liebe Myrte, Op. 68 No. 3 Drei Lieder der Ophelia Op. 67 Wiegenlied, Op. 41 No. 1 Ruhe, meine Seele!, Op. 27 No. 1 Befreit, Op. 39 No. 4 Leise Lieder, Op. 41a No. 5 In der Campagna Op. 41 No. 2 Du meines Herzens Krönelein, Op. 21 No. 2 Blindenklage, Op. 56 No. 2 Die Georgine Op. 10 No. 4 Gefunden Op. 56 No. 1 Die Nacht, Op. 10 No. 3 Schlagende Herzen Op. 29 No. 2 Wie sollten wir geheim sie halten, Op. 19 No. 4 Meinem Kinde, Op. 37 No. 3 Zueignung, Op. 10 No. 1 |
“Here...one of Ms. Lear's finest gifts comes immediately to the fore, her immense feelings for words and her ability to sing "on" the word, to bring it forward and give it shape” Dallas Morning News | | | Usually despatched in 4 - 5 working days. |
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