Richard Strauss: Songs

Editorial Reviews
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This is an enchanting record: 26 songs, most of them familiar favorites, loosely arranged in categories by textual content, all vintage Strauss and intoxicatingly beautiful, performed with consummate artistry. Felicity Lott's voice is perfectly focused, flexible, warm, clear as a bell over a range of more than two octaves. It can float with disembodied purity and glow with rapturous ardor; she phrases with words and music so that they naturally extend and enhance each other. A seasoned Straussian in opera and concert, Lott brings to these songs a deep affinity for every mood, feeling, and expressive nuance. Graham Johnson, surely one of our greatest accompanists, aids and abets her all the way, seeming to share and anticipate her every thought. His preludes and postludes provide a perfect framework for atmosphere and character. For example, the filigree arpeggios in "Ständchen" (No. 3) descend like a delicate, rippling shower of gold. Strauss is without peer in creating ecstatic climaxes, and there are plenty of them in this program: listen to "Zueignung" (No. 18), "Cäcilie" (No. 21) or "Blauer Sommer" (No. 10). Equally magical are his intimate, inward songs: "Waldseligkeit" (No. 1), one of many dedicated to his wife, "Wiegenlied" (No. 16), or "Leises Lied" (No. 4). It is hard to pick out highlights in this cornucopia of riches; listeners will find their own favorites. One cavil: in the final song ("Morgen") the original violin obbligato is sadly lacking; even the best pianist cannot sustain the long melody notes that weave like a thread of shimmering sunlight through the prosodic vocal line. --Edith Eisler

Richard Strauss: Songs, Music, Richard Strauss, Graham Johnson, Felicity Lott, Classical, Classical Artists, Classical Music, Classical Vocals, Romantic Music for Voice and Keyboard, Vocal

Richard Strauss: Four Last Songs
Average customer rating:

Not a desert island recording

EUREKA, I've found out what is lacking.....

Another one bites the dust

Marvellous Salome

Disappointing Strauss: Expert-polished orchestra, Adequate Soprano

Richard Strauss: Four Last Songs

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Russian Album

ASIN: B000MV93EG
Release Date: 2007-05-08

Tracks:

Letzte Szene: "Ah! Du wolltest mich nicht deinen Mund"
Mondscheinmusik
Letzte Szene: "Morgen mittag um elf!"
Frühling (Hermann Hesse)
September (Hermann Hesse)
Beim Schlafengehn (Hermann Hesse)
Im Abendrot (Joseph von Eichendorff)

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This gifted Swedish soprano, rapturously praised internationally in Wagner, is clearly eager to stake a claim in Strauss. She has the necessary vocal strength, wide range, fine musicianship, clear textual delivery, and flexibility. But listen to legendary benchmarks of Strauss singing (Ljuba Welitsch in the Salome scene, Elisabeth Schwarzkopf or Lisa della Casa in the other material on this disc) and you'll hear voices of pristine timbre and absolute steadiness, both of which Stemme lacks; her vibrato might be less intrusive in the theater, but on records it consistently puts her at a disadvantage, especially in Strauss. Even if the Salome finale offers a certainly amount of feverish excitement, throughout the program the singing generally wants variety of color. With the Capriccio Countess, the line-by-line specificity for this demanding characterization - above all, the lady's abundant charm - is conspicuously missing. Likewise, phrase after phrase of the Four Last Songs lacks profile, and here the vibrato prevents Stemme from achieving the serenity so crucial to this sublime music. EMI provides fine supporting singers (but why weren't the Capriccio Majordomo's opening lines included?) and a splendid Strauss orchestra, that of London's Royal Opera House, elegantly led by music director Antonio Pappano. --Roger Pines

Album Description

Tracklisting:

Richard Strauss- Songs & Scenes
Salome (Hedwig Lachmann after Oscar Wilde)
1. Letzte Szene: "Ah! Du wolltest mich nicht deinen Mund"

Capriccio (Clemens Krauss/Richard Strauss)
2. Mondscheinmusik
3. Letzte Szene: "Morgen mittag um elf!"

Four Last Songs
4. FrÃ¼hling (Hermann Hesse)
5. September (Hermann Hesse)
6. Beim Schlafengehn (Hermann Hesse)
7. Im Abendrot (Joseph von Eichendorff)

Customer Reviews:

Not a desert island recording.......2007-07-12

This is not a recording to take to that desert island, if you can only pack the essentials. Nina's voice is okay but with the recordings of Jesse Norman and Kiri Te Kanawa still very much in-print, why bother with this one. Nina sounds like a Bayreuth house soprano and her rendition is in no way startling or original. Just adequate. Skip this recording and buy one of the other two.

EUREKA, I've found out what is lacking............2007-06-24

Timbre is to the voice what French Silk is to chocolate pudding; the difference between rich cream and skim milk, it is texture, depth and perspective, and sheen. Nina Stemme does not have the finer of those qualities, but she is not alone.

She seems to me the hope for tomorrow, so low is her tone, firm her committment, and classic her appearance - even if not on this cover. Her singing is very musical, but I don't hear beauty - the production is too narrow and this works for Wagner but not Strauss. Her phrasing is straight - very little variance and again - Wagnerian, not Strauss. Ideally, the portamento and a floating vibrato free tone (ethereal) are two of the hallmarks of Strauss singing. The most fine singer of these wonderful songs - to me - will always be the late Elizabeth Schwarzkopf but Rene Kollo (tenor) also recorded them. His Abendrot is very touchingly sung. But Nina Stemme brings her own touch that validates this attempt. Any singer who attempts Four Last Songs is brave indeed, not only for attempting the difficult music, but for the grand tradition preceeding them.

Somehow, Nina Stemme seems more serious than the airy prima donnas of the past 10 years - Fleming and Angela Alagna come to mind first -- also this young Russian woman (her name escapes me). Stemme is a classic woman, knowing, practical - she is a prima donna, an authentic opera singer - very far from Church, Bocelli, and those pop-classical people (where are they now?) --- she is the beginning of a new practical era where the Art is the measure of productivity - not the Spin Meister.

Brava Nina!!!

Another one bites the dust.......2007-05-25

I could not believe it when I picked up this disc in my local music store to see my favourite music by Strauss on one CD. The first thing I thought is how is Nina Stemme going to pull off each of these selections. The answer is unfortunately, much to my expectations, she excels in the Salome scene, while the remainder of the CD shows her to a bit of a disadvantage. She sings the Countess's Final Scene music well enough, but just like the 4 Last Songs, she lacks the inner-most feeling and cannot penetrate the music like Fleming or Schwarzkopf. Her vibrato also seems to get in the way of most of the music, although it seems to work better in the Salome Final Scene than anywhere else. Pappano and ROH Orchestra provide worthy accompaniment.

Marvellous Salome.......2007-05-24

Stemme makes a most dramatic, marvellous interpretation, one of the best I have ever heard, of the final scene of Salome. The sheer power in her voice points forward to Elektra and Brünnhilde. And the orchestra is in top form. The reason why I do not give this record five stars is to be found in the final scene from Capriccio. Stemme seems not quite to understand the deeps of this role. The best recording ever made of this scene is done by Elisabeth Söderström, CBE - also on EMI.
It is wonderful to hear a "Hochdramatische" sing Vier letzte Lieder! Strauss obviously wanted this kind of voice, and here Stemme, I must confess, scores over Flagstad. Ms. Stemme has to attend to a small vibrato. But: Do not miss this record!

Disappointing Strauss: Expert-polished orchestra, Adequate Soprano.......2007-05-21

If I could only take one Richard Strauss vocal disc to my lonely desert island, I would be torn between choosing the highlights of Der Rosenkavalier, and the Four Last Songs. Come to think of it, I bet the Four Last Songs and other orchestrated songs would finally win out, though I suppose I could try to burn a personal combo disc of the four songs plus at least the bulk of the Rosenkavalier excerpts.

So we come to Nina Stemme singing both a couple of opera excerpts from Salome and Capriccio, and the songs. The orchestra is Covent Garden, with their current music director, Antonio Pappano, leading.

Right off you hear that Pappano is generating a leaner, cleaner Strauss orchestra sound than the lavish, sumptuous sound we now tend to expect. He is not asking the band for high calorie strings, and daring the woodwinds and the brass to cut through when possible. Instead he brings a clean touch that reminds a listerner of George Szell and Cleveland. The difference is that Pappano also generates more warmth of tone, and the sort of razor-edged, hair-pin precision that we associate with Fritz Reiner and Chicago in their heyday.

In sum, this combo approach works, definitely. The orchestra draws a listener in, and gets all the right Straussian juices going. One wants to hear more Richard Strauss - opera, plus orchestral, plus songs - from Pappano and Covent Garden then. Much, much more. There hasn't been such a gifted Strauss conductor resident in England, apparently, since the late, great Tommy Beecham.

Now to the soprano, Nina Stemme.

I have nothing against a bigger voice doing the songs. If only Flagstad had lived to record them in better conditions. For a hint of that imaginary blessing, check out her Mahler song cycles with orchestra, under Vienna led by Boult and Knappertsbusch.

What I think you will hear from Flagstad, that, alas, I do not hear from Ms. Stemme is yet another confidence and physical embodiment, bolstered by seasoned years of professional work, founded on unfailing vocal technique.

At first and later plays, I thought that Ms. Stemme just missed the stylistic differences between opera and lieder in her overall way with musical phrasing. And maybe the differences between Strauss and Puccini. Overall sweep and lift are there, but the focus in her voice gets to spread too much, as if general intention and vocal gesture and obvious involvement were all there was to it.

No, I am afraid I am disappointed. Is Ms. Stemme yet another gifted younger singer who is being pushed too fast into the limelight, short-cutting her technical foundations? Was she just having a bad day?

Other passing deficits, which are indeed not all that terrible but not all that great either, include a so-so take on the texts, again as if one could make the point with just singing this music and letting the texts slide into home base, whenever and however they may.

Not so, again check out other Straussians like Schwarzkopf whose way with lieder was justly renowned. Even Flagstad shows more lieder text insight in her Mahler cycles. Even Jesseye Norman, whose downside is the just okay support she gets from Kurt Masur and the Leipzig band.

One suspects that Stemme has notable gifts which still need a further technical foundation to fully realize them. Breath control is the deep foundation of tonal control. And even more focus on not just hitting the notes, but keeping them fine tuned wouldn't hurt. Now in her favor, Ms. Stemme does not sing out of tune at all, no. But she lets her tone spread and vibrate every time she reaches up, or tries to point the arch of the phrase, and this bodes ill generally for her interpretations, with ill effects in her lieder phrasing particularly.

My guess is this goes back to resale. But I will watch like a hawk or a night owl for more Richard Strauss from Pappano.

Three stars, then. Adequate. Probably for die hard fans of Ms. Stemme, and for listeners who can prize Pappano and Covent Garden as the real treasure trove here.

My recommends? Well, Schwarzkopf/Szell, plus Isokowski/Janowski, plus Norman/Masur, plus Te Kanawa/Davis, plus Auger/Previn, plus Fleming/Eschenbach, plus Lott/Jarvi, plus Brewer/Runnicles, plus Janowitz/Karajan, plus Price/Leinsdorf. Not a thin field, then. Take your pick and love it. The music is the thing.

Strauss: Four Last Songs; Wagner" Excerpts from Tristan und Isolde & Götterdämmerung

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Strauss: Four Last Songs; Wagner" Excerpts from Tristan und Isolde & Götterdämmerung

Manufacturer: Testament UK
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ASIN: B000O59Z0C
Release Date: 2007-06-12

Tracks:

I. Beim Schlafengehen
II. September
III. Fruhling
IV. Im Abendrot
Prelude
Mild Und Leise Wie Er Lachelt
Dawn And Siegfried's Rhine Journey
Starke Scheite Schichtet Mir Dort

Renee Fleming - The Beautiful Voice ~ Gounod, Lehaair, Orff, Puccini, Rachmaninov, Strauss

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The best of the best.
Beautiful and creamy voice
Renee Fleming;THE BEAUTIFUL VOICE
The most gorgeous soprano voice I've ever heard
Wow!!!

Renee Fleming - The Beautiful Voice ~ Gounod, Lehaair, Orff, Puccini, Rachmaninov, Strauss
Gustave Charpentier , Charles Gounod , Jules Massenet , Antonin Dvorak , Friedrich von Flotow , Giacomo Puccini , Erich Wolfgang Korngold , Carl Orff , Richard Strauss , Sergey Rachmaninov , Johann II Strauss , Franz Lehar , Jose Maria Cano , Marie-Joseph Canteloube , Jeffrey Tate , Sir Charles Mackerras , Renée Fleming , English Chamber Orchestra , Osian Ellis , London Voices , and Clive Greensmith
Manufacturer: Decca
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Binding: Audio CD

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Renée Fleming
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Sacred Songs
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ASIN: B0000042I6
Release Date: 1998-02-10

Tracks:

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Faust (Acte 3 - Air des bijoux): O Dieu! que de bijous!... Ah! Je ris de me voir si belle (Air des bijoux - Jewel Song)
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LUNA: Epilogo
Chants d'Auvergne, Series 1: Bailero

Amazon.com essential recording

This vocal recital certainly lives up to its title, perhaps too well. It's a collection of arias and songs Fleming has sung for years that for some may be too much frosting and not enough cake. Surely, her performances are rich with interpretive nuances, wonder-filled portamentos and word colorings that reflect a long history with this repertoire, which ranges from Charpentier's "Depuis le jour" to Rachmaninoff's "Vocalise." Some may find Fleming a bit much, but agree with her or not, she's far more interesting than singers who keep a safe, discreet distance from the music. --David Patrick Stearns

Customer Reviews:

The best of the best........2007-04-11

I've given away at least a dozen copies of this CD. I'm running low, so I just refilled the stash. For people who haven't discovered Renee Fleming or who think they don't care for opera, this CD is the best possible way to blow down the walls. If you think there's nothing new to be heard in these old arias, you owe it to yourself to find out how wrong you can be.

Beautiful and creamy voice.......2006-02-28

I like so much Ren?e Fleming and this is special cd !

Renee Fleming;THE BEAUTIFUL VOICE.......2006-01-30

IT'S A FINE RECORDING THAT OFFERS A VARIETY OF SELECTIONS FROM OPERA, OPERETTAS AND FOLK SONGS, ALL WITH FLEMING AT HER BEST.

The most gorgeous soprano voice I've ever heard.......2006-01-02

I am a 19-year-old voice student at the University of Central Arkansas and I came across Renee by way of a soprano in my voice studio. She said it was her favorite soprano and that I should give her a listen. I was a little hesistant because I'm a baritone and my voice teacher told me that I should listen to men, but I just want to hear it all. So this past summer I first bought Renee's self-titled album with all of the lolipop arias on it and I was just amazed, not just because of how good she is but how easy she is to listen to. I loved her voice immediately. From the the moment the first tone passed through her throat on Puccini's "O Mio Babbino Caro." So I had to hear more. The Beautiful Voice is even better. It wasn't as easy to listen to at first because some of the songs on this album are not as famous as those on the other one, but these songs are all gems. The Korngold with the pianissimi B flats is my personal favorite. Even my mother who screams at me to turn down that "noise" when I listen to opera cds has grown to be quite fond of Renee Fleming. Sometimes her interpretations can be over the top, but the voice is beyond spectacular. It pours out like melted butter. It's vibrant, rich, expressive, free and always perfectly in tune. There is no hint of strain from any sound emitted from her body. She will undoubtedly be remembered like Callas & Sutherland and all the other great soprano voices before her. Not for the dramatic intensity of Callas or the coloratura & technical ease of Sutherland, but for the sheer unspeakable beauty of her voice. This is a must have for any vocalist seriously dedicated to classical training.

Wow!!!.......2005-09-28

This album is the album that introduced me to Renee Fleming. Every selection on this recording is a gem. Her voice is so gorgeous and her technique is so solid. I love her voice so much, her interpretations of J. Strauss, Jr.'s Csardas is incredible and Puccini's Chi il bel sogno di Doretta makes me cry everytime I listen to it. She is a true American treasure. Brava Renee!!!

Strauss: Four Last Songs / Karajan, Berlin Philharmonic Orchestra

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The Perfect Four Last Songs
Absolutely Beautiful!
Karajan really puts a damper on things
Fantastic readings of some of Strauss's most beautiful work
Gorgeous Gundula

Strauss: Four Last Songs / Karajan, Berlin Philharmonic Orchestra

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001GQF
Release Date: 1996-01-23

Tracks:

Tod Und Verklarung Op. 24
Metamophosen: Metamorphosen
Veir Letzte Leider: Fruhling
Veir Letzte Leider: September
Veir Letzte Leider: Beim Schafengehen
Veir Letzte Leider: Im Abendot

Amazon.com

Gundula Janowitz had a very beautiful voice that critics like to describe as "creamy," whatever that means. Strauss had a life-long love affair with the soprano voice. He even married one--not just the voice, the whole woman, of course. His Four Last Songs constitute his dying tribute, and they are probably the most hedonistically gorgeous vocal works in existence. Herbert vo Karajan was a Strauss specialist, as was Janowitz, and together they contrive to perform the songs about as perfectly as they ever have been. The couplings, two orchestral works from the beginning and end of Strauss's career, are quite appropriate: the last of the Four Songs quotes the "Transfiguration" theme from the tone poem. --David Hurwitz

Customer Reviews:

The Perfect Four Last Songs.......2007-04-20

Of all the Straussians who have sung the composer's autumnal pieces, I think the best of the lot is Gundula Janowitz. Her ethereal, diaphanous, and floating voice fits these songs perfectly, and her natural sense of expression conveys that aura of old age, wisdom, and reflection radiated by these songs. Although hers is the kind of voice that wouldn't have the deep, low notes for Frühling, the rest of the songs sound like pearls falling off a string. In September and Beimschlafengehen, she has no rivals, and her Im Abendrot has that reflective sense of retirement that only she can bring to this glorious music. That said, I think that in addition to Janowitz, you must hear Lisa della Casa and Soile Isokoski in these songs. Janowitz is partnered by the orchestral forces of THE Straussian conductor, Herbert von Karajan. His feeling for the poetry in these pieces is unrivaled by any other conductor except Karl Böhm, and the Berlin forces play a ravishing account of this music. The balance is just right, and Karajan caresses the orchestral forces to a soft cushion of sound for Janowitz. All the resignment and wisdom of Strauss' final masterpieces can be found in this rendition of the music. The Metamorphosen and the Tod und Verklärung that precede these are also played with the finesse and the smoothness of the Berliners. Bravo!

Absolutely Beautiful!.......2006-07-19

Gundula Janowitz did an amazing job on the Four Last Songs by Strauss. Her tone is so beautiful with clarity, and her voice is so expressive. She also does not over sing these delicate songs which I heard oversung, and it ruins each piece. Of course, Karajan and the Berlin Philharmonic are amazing and perfect for Richard Strauss. The violin solo in the "third" of the four last songs is amazing and heartbreaking. You dont even have to be a Strauss fan to love this cd. Anybody who loves music has to love Strauss's Four Last Songs which can be described as some of the most beautiful music written.

Karajan really puts a damper on things.......2006-07-14

There are fervent Herbert von Karajan fans out there and a lot of people love this album, but I just don't see what the fuss is all about. Karajan's interpretations here seem daft and un-comprehending. In the sleeve notes, the Berlin Philharmonic concertmaster is quoted to say that Karajan quickly gave the orchestra a clear idea of what he wanted in rehearsals, so that in performance he could largely "let the orchestra play itself," taking over to provide leadership and an interpretive touch "at key moments." And that's exactly the sense I get in so many passages here: that Karajan is simply letting everyone play, not guiding or directing or shaping things.

The playing of the Berlin Philharmonic---the orchestra that is, by many if not by general consensus, held to be the world's finest---is of course spectacular. In fact, the orchestra is so good that all a conductor has to do to bring things off pretty well is to start and stop them together, and frankly for a great deal of this disk that seems to be the extent of Karajan's involvement. So many expressive nuances in these scores go by without emphasis, as though Karajan isn't even aware of them.

In the Four Last Songs, I much prefer Schwarzkopf and Szell with the Berlin Radio Symphony Orchestra. There, the phrasing is astute and expressive, heightening the effect of these scores, where Karajan deflates everything and largely sabotages the effect these gorgeous orchestral songs ought to have. Furthermore Schawarzkopf is gentle and tender where Janowitz, for as much as she sings arching, elegant phrases, is often rather overblown by comparison.

The exception here, though, and the reason for a 3-star rating rather than only 2, is the Metamorphosen, Op. 142. This is a remarkable, complex work that reveals itself more and more with multiple listenings, and the reading here is a real masterpiece. Perhaps Karajan deserves the credit, or perhaps the smaller ensemble (23 strings) fosters an atmosphere of chamber playing so that the orchestral musicians themselves are primarily responsible for the interpretive contribution here... given just how much Karajan muffles the expressive content in the other two works, I tend to think the latter is probably closer to the truth.

Fantastic readings of some of Strauss's most beautiful work.......2005-10-29

What more can I say that other reviewers have not already said? Karajan's direction of the BPO remains unsurpassed for Strauss. The BPO from the 1960's through the mid-70's was at its absolute apex and it shows, especially in the electric and beautiful "Tod und Verklarung" and the reflective "Metamorphosen". These interpretations of those two major tone-poems remain the definitive recordings for me; I have heard other performances, but none have moved me in this way.
I have to be honest, I am not a huge fan of Lieder in general - vocal works are not my bag, really. Still, if you enjoy this medium, then these pieces must not be missed, as they certainly are beautiful, and Gundula Janowitz has one of the most gorgeous classical voices.
Overall, this disc is can't miss - fantastic sound and performance, affordable price and a huge runtime (77+ minutes). A must have for Straussians.

Gorgeous Gundula.......2005-10-26

This is a must have CD for Janowitz's singing alone. Recently, many overpowered Wagnerian sopranos have attempted to perform the four last songs, but they are invariably miscast for these intimate works. Janowitz's singing here is precisely on the mark for the kind of atmosphere Strauss calls for. Karajan seems to fulfill every demand a signer could have here with gorgeous coloring, balance and pacing, always allowing Janowitz to breathe. These four last songs are part of my desert island collection.

Tod und Verklaerung likewise is an excellent rendition by Karajan. Death becomes palpable in a very naturalistic reading of this very naturalistic tone poem. The Metamorphosen on the other hand are the low spot on this disc and the reason for the "only" four stars rating. It seems emotionally overwrought and unconvincing as a whole. We have here unfortunately another example of excessively lush, chocolatey string overkill so common in later Karajan recordings. It seems wholly inappropriate for what is Strauss at his most experimental and non-romantic. A bit more clarity and emotional restraint would have helped.

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Movie Themes CD
"three decades of film composers ~ Simply The Best"

Simply the Best Movie Themes

Manufacturer: Rhino / Wea
ProductGroup: Music
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ASIN: B0001CNRL6
Release Date: 2004-02-24

Tracks:

Theme From Mission Impossible - Schifrin
Theme From Gladiator - Zimmer
Hedwig's Theme - Williams
Harry's Wondrous World - Williams
Allegro Moderato - Symphony No. 8 'Unfinished' - Schubert
Suite From Shakespeare In Love - Warbeck
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Suite No. 3 In D, Air On The G String - J.S. Bach
I Will Always Love You - Parton
Symphony No. 40, Molto Allegro - Mozart
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My Heart Will Go On - Horner

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Theme From Lord Of The Rings - Shore
Overture To All That Jazz - Kander & Ebb
'Trout' Quintet, Theme, Andantino And Variations - Schubert
Prelude No. 15 In D-Flat - Chopin
Windmills Of Your Mind - LeGrand
(Everything I Do) I Do It For You - KAMEN
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Also Sprach Zarathustra, Excerpt - Strauss
Symphony No. 3, Lento Cantabile - Semplice - Gorecki
Die Walkure, Ride Of The Valkyries - Wagner
Goldberg Variations, Aria Da Capo - J.S. Bach
Theme From License To Kill - KAMEN
Sonata No. 8, Op. 13, 'Pathetique,' Andante Cantabile - Beethoven
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Symphony No. 9, Ode To Joy, Excerpt - Beethoven

Customer Reviews:

Movie Themes CD.......2007-03-10

Very nice CD with beautiful music from past movies. Very relaxing music to listen to.

"three decades of film composers ~ Simply The Best".......2004-03-06

Rhino Movie Music presents "Simply The Best Movie Themes", featuring the Royal Philharmonic Orchestra and other various artists ~ within the realm of the following composers David Arnold, John Barry, Alan Bergman, Marilyn Bergman, Wendy Carlos, Fred Ebb, James Horner, James Newton Howard, Michael Kamen, John Kander, Michel Legrand, Alex North, Basil Poledouris, Howard Shore, Wladyslaw Szpilman, Stephen Warbeck, John Williams and Hans Zimmer ~ each composer has created one or more of the scores in this twenty nine classic line up.

Film scores covering over three decades with "2001:SPACE ODYSSEY", "A CLOCKWORK ORANGE", "APOCALYPSE NOW", "THE BODYGUARD(I Will Always Love You)", "CHICAGO(Overture to All That Jazz), "DIE ANOTHER DAY", "EYES WIDE SHUT", "FEARLESS", "GLADIATOR(Theme)", "HANNIBAL", "HARRY POTTER AND THE SORCERER'S STONE(Hedwig's Theme)", "HARRY POTTER AND THE SORCERER'S STONE(Harry's Wondrous World)", "THE HUNT FOR RED OCTOBER", "JURASSIC PARK:THE LOST WORLD", "LICENSE TO KILL, "LIVING DAYLIGHTS", "THE LORD OF THE RINGS(Theme)", "MINORITY REPORT", "MISSION IMPOSSIBLE (Theme)", "OUT OF AFRICA", "THE PIANIST", "ROBIN HOOD, PRINCE OF THIEVES", "SCHINDLER'S LIST", "SE7EN", "SHADOWLANDS", "SHAKESPEARE IN LOVE", "THE SIXTH SENSE", "THE THOMAS CROWN AFFAIR"and "TITANIC(My Heart Will Go On)" ~ a mixture of original compositions and classics of the old masters. Loaded with not just themes, but full of orchestral arrangements that are fresh and rewarding ~ sure to bring back those special moments from the film.

The presentation is superb with every cue inclusive with spectacular performances from suspense, romance and adventure all rolled into a two disc package. Rhino must be commended on doing such a great job and doing it well. Most serious "film-score-buffs" will welcome this compilation, has many cues available all under one banner ~ Rhino Records...gotta love it!

Tracks:

Four Last Songs, Op. Posth.: Fruhling
Four Last Songs, Op. Posth.: September
Four Last Songs, Op. Posth.: Beim Schlafengehem
Four Last Songs, Op. Posth.: Im Abendrot
12 Songs: Mutterandelei, Op. 43, No. 2
12 Songs: Waldseligkeit, Op. 49, No. 1
12 Songs: Zueignung, Op. 10, No. 1
12 Songs: Freundliche Vision, Op. 48, No. 1
12 Songs: Die Heiligen Drei Konige, Op. 56, No. 6
12 Songs: Rube, Meine Seele, Op. 27, No. 1
12 Songs: Meinem Kinde, Op. 37, No. 3
12 Songs: Wiegenlied, Op. 41, No. 1
12 Songs: Morgen, Op. 27, No. 4
12 Songs: Das Bachlein, Op. 88, No. 1
12 Songs: Die Rosenbande, Op. 36, No. 1
12 Songs: Winterweihe, Op. 48, No. 4

Amazon.com

Elisabeth Schwarzkopf was one of those singers whom one either loves or hates. She was a "stylist," who inflected every phrase, every note in her urge to communicate what she considered to be the meaning of the text. Others feel that the only thing she communicated was her own need to impress people with her ability to communicate, and I believe she often forgot the difference between art and artfulness. Be that as it may, she was an outstanding Strauss singer, and her performance of the Four Last Songs, in particular, is legendary. Of course, having George Szell on the podium doesn't hurt either. He insures that the music shows the singer in the best possible light. --David Hurwitz

Customer Reviews:

This is just a review of the transfer and booklet.......2007-03-30

I have little to add to the excellent reviews here--I owned a previous transfer, and it was worth it to me to buy another, given its low cost at Amazon.

I think the transfer is excellent, removing a surprising amount of murk from a 1991 version (I think). In fact, I'm wondering if some distortion hasn't been removed as well, at least in the voice. As for Szell & his orchestras, their playing sounds fresher and lovelier than ever. Instrumental placement in the sound image seems more firm, and details are more clear.

As for the booklet, well, EMI is not one for documentation, and it should be ashamed of itself for wasting our time in the middle of the song texts with ads for their other recordings. However, yes, the texts for these songs are all there, and that is a minor miracle.

So yes, this is a no-brainer purchase. In my view, the improved sound quality does merit purchasing it if one's transfer is prior to 1997.

A wiser Schwarzkopf in one of her best latter recordings.......2006-11-04

One of the landmark opera albums of the 1960s', Elisabeth Schwarzkopf's recording of Strauss' "Four Last Songs"; and the twelve Lieder songs of Burger, Dehmel, Bierbaum and others, is beautifully-remastered here for compact disc.

Schwarzkopf was in her fifties when she recorded these works, and there is a lot to be said for the mature, knowing performance from a soprano voice of that age. It speaks of life's joys and heartaches, and a heart still longing for youthful romance. I seriously doubt that anyone will ever fully eclipse Elisabeth's sheer dramatic intensity in this recording. She transforms herself back into a young girl, yet still retains the dramatic use of her maturity.

This recording has been remastered using Abbey Road's Prism SNS system, which gives the recording a natural soundscape, free of annoying echo or reverb, allowing Schwarzkopf's voice to come forth with astonishing clarity. Simply, it's the best this recording has ever sounded. A bargain price too.

[EMI Classics 7243 5 66908 2 0]

HEAVENLY.......2006-09-14

The "Gramophone" magazine reviewer couldn't have put it better:- "a heavenly record, so beautiful that I find it goes against the grain to attempt to analyse it". A must-have for any self-respecting classical record collection.

Schwarzkopf and Szell Team Up For An Incandescent Strauss Record.......2006-09-09

Four decades later this remains one of the greatest recordings of this final, transcendent Richard Strauss masterpiece. Some have shown preference for the earlier Schwarzkopf sung, Otto Ackermann conducted EMI record. I can't imagine why someone would want that mono recording over this gorgeous stereo version. Schwarzkopf here is just as radiant if not more so, the speeds are perfectly judged by Szell and everything has an luminous glow about it. The fact that 12 extra Strauss songs are here too puts this CD over the top, a must buy.

There have been plenty of great versions of the Four Last Songs since Schwarzkopf, the likes of Gundula Janowitz with Herbert Von Karajan and especially the spectacular Jessye Norman with Kurt Masur, yet the Schwarzkopf account can still match any other version in the catalogue for sheer beauty, the tender articulation of words and deep understanding of the music. Jessye Norman surpasses Elizabeth Schwarzkopf for operatic splendour and voluptousness of sound so you definitely need to get that version too. Having several performances of this immortal masterwork is a must!

A thing of beauty ..........2006-02-06

... is a joy forever, John Keats wrote, referring to the unending beauty of the things in Nature. The same can be said for the music making as captured for eternity on this recording, which seems to have been touched by a muse of fire, making it truly ascend the highest heaven of invention ... and art. The interpretations of all of these songs by Elisabeth Schwarzkopf is ever intelligent and astute, but always deeply human. Her singing is finely intimate, I believe, revealing her unrivaled mastery of invoking every single syllable with deepest possible meaning. The same can be said for the orchestral playing, so very intelligent, utterly complementing Elisabeth Schwarzkopf's gorgeous, deeply human, deeply moving singing. A marvel!

Average customer rating:

Strauss: The Complete Songs - 2

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Julia Varady [DVD Video]

ASIN: B000OQDV2O
Release Date: 2007-06-12

Tracks:

Die Nacht Op.10 No.3
Geduld Op.10 No.5
Mein Herz Ist Stumm Op.19 No.6
All' Mein Gedanken Op.21 No.1
Du Meines Herzens Kronelein Op.21 No.2
Ach Lieb, Ich Mub Nun Scheiden Op.21 No.3
O Warst Du Mein Op.26 No.2
Ruhe, Meine Seele! Op.27 No.1
Traum Durch Die Dammerung Op.29 No.1
Schlagende Herzen Op.29 No.2
Nachtgang Op.29 No.3
Blauer Sommer Op.31 No.1
Weiber Jasmin Op.31 No.3
Das Rosenband Op.36 No.1
Waldseligkeit Op.49 No.1
In Goldener Fulle Op.49 No.2
Wiegenliedchen Op.49 No.3
Wer Lieben Will, Mubb Leiden Op.49 No.7
Ach, Was Kummer, Qual Und Schmerzen Op.49 No.8
Blindenklage Op.56 No.2
Wie Erkenn' Ich Mein Treulieb?
Guten Morgen, 'S Ist Sankt Valentinstag
Sie Trugen Ihn Auf Der Bahre Blob

Classical Masterpieces of the Millennium [20 CD Set]

Average customer rating:

Mill. Classical review
classical music for the unitiated
Some little gems there that I had forgotten!
A very helpful collection
Excellent!

Classical Masterpieces of the Millennium [20 CD Set]

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

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ASIN: B00000K1C9
Release Date: 1999-08-24

Tracks:

Brandenbutg Concerto No.3 In G First Movement
Overture No.3 In D Second Movement
Violin Concerto In E First Movement
Prelude In C minor
Jesu Bleibet Meine Freude (Chorus From Cantata No.147)
Overture No.2 In B minor Minuet And Badinerie
Oboe Concerto In D minor Second Movement
Brandenburg Concerto No.4 In G Third Movement
Musical Offering - Fuga canonica
Easter Oratorio - Overture
Minuet In D minor
Kommst Du Nun, Jesu, Vom Himmel herunter(From Choral Prelude BWV 650
Brandenburg Concerto No.1 In F Second Movement
Art Of The Fugue - Contrapunctus 9
Concerto For Flute, Violin, Harpsichord And Strings. Triple Concerto - Third Movement
Overture No.4 In D - Réjouissance
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Water Music - Alla Hornpipe
Xerxes - Ombra Mai Fu (Largo)
Messiah - And The Glory Of The Lord
Concerto Grosso In A Minor, Op. 6, No. 4 - Larghetto Affettuoso
Organ Concerto In F, Op. 4, No. 4 Allegro
Water Music - Air
Messiah - For Unto Us A Child Is Born
Concerto Grosso In B flat, Op. 3, No. 2 - Largo
Salomon - Sinfonia, Act 3
The Choice Of Hercules - While For Thy Arms
Water Music - Allegro (Suite No. 1)
Suite No. 5 In E - Air With Variations
Jephtha - How Dark, O Lord
Organ Concerto In F, Op. 4, No. 5 Alla Siciliana - Presto
Mi Palpita Il Cor (Solo Cantata) S'un Di M'adora
Water Music - Andante Allegro Da Capo
Concerto for Trumpet & Orchestra in E-flat: First Movement
Symphony No. 94 in G: Surprise Symphony-second movement
Concerto for Violin No. 2 in D: Third Movement
Flute Trio No. 31 in G: Second Movement
Symphony No. 31 in D: Hornsignal-First Movement
String Quartet No. 17 in F, Op. 3, no. 5: Serenade Quartet-Second Movement
Sinfonia Concertante in B-flat for Violin, Cello, Oboe, Bassoon and Orchestra-Third Movement
Concerto for 2 Horns & Orchestra in E-flat: Second Movement
Symphony No. 88 in G: Fourth Movement
String Quartet No. 77 in C: Kaiser Quartet-Poco adagio cantabile
Notturno No. 1 in C: Second Movement
Symphony No. 98 in B: Londoner No. 4-Fourth Movement
Eine Kleine Nachtmusik - first movement
Piano Concerto in A - second movement
Flute Concerto in D - Rondeau
Serenade - Minuet
Violin Concerto - first movement
Symphony No. 40 in G minor - first movement
Clarinet Concerto - second movement
Turkish March
Divertimento - Minuet
Horn Concerto No. 3 in E-flat - first movement
Symphony No. 5 in C minor, Op. 67-First Movement
Piano Sonata No. 14 in C sharp minor, Op. 27, no. 2: Moonlight Sonata-First Movement
Overture
O welche Lust (Prisoners' Chorus)
Ha, welch ein Augenblick (Pizarros's Aria)
Concerto for Piano and Orchestra No. 3 in C minor, Op. 37: Second Movement
Concerto for Violin and Orchestra in D, Op. 61: Third Movement
Piano Sonata No. 8 in C minor, Op. 13: Pathétique-Second Movement
Sympony No. 6 in F, Op. 68: Pastorale-First Movement
Fantasy for Piano, Chorus and Orchestra in C minor, Op. 80: Choral Fantasy - Finale
German Dance No. 1 In C
Impromptu Op. 90, No. 3 In G-Flat
Heidenroslein
Ave Maria
Der Lindenbaum
Quintet In A 'Trout Quintet' - Andante
Mass No. 6 In E-Flat - Kyrie
Die Schone Mullerin Des Mullers Blumen
German Dance No. 2 In G
Piano Sonata In B-Flat
Nachtgesang Im Walde
Winterreise - No. 15: Die Krahe
German Mass - Zum Sanctus (Heilit, Heilig Ist Der Herr)
Symphony No. 8 In B Minor 'Unfinished' - Second Movement
Waltz No. 1 in E-flat, Op. 18 Grande Valse brillante
Nocturne in E-flat, Op. 9, no. 2
Etude in G-flat, Op. 10, no. 5
Concerto for Piano and Orchestra No. 2 in F minor, Op. 21-Second Movement
Mazurka in D minor, Op. 33, no. 2
Prelude in D-flat, Op. 28, no. 15 Raindrop
Etude in C, Op. 10, no. 1
Nocturne in D-flat, Op. 27, no. 2
Impromptu No. 4 in C-sharp minor, Op. 66 Fantasy Impromptu
Scherzo in B minor, Op. 20
Piano Sonata No. 2 in B-flat minor, Op. 35-Third Movement
Concerto for Piano and Orchestra No. 1 in E minor, Op. 11 - Third Movement
Piano Concerto No. 1 in B-flat minor - first movement 113.String Seranade - Waltz
Violin Concerto - second movement
The Sleeping Beauty - Waltz
Capriccio Italien, Op. 45
Swan Lake - Waltz
Eugene Onegin - Polonaise
The Nutcracker - Waltz of the Flowers
Orchestral Suite No. 4 - Mozartiana - Third Movement
Swan Lake - Dance of the Swans
Symphony No. 6 in B minor - Pathétique - Third Movement
Hungarian Dance No.5
Lullaby
Symphony No.1 in C minor, Op. 68 - Third Movement
Intermezzo in E-flat, Op.117, no. 1
Concerto for Violin and Orchestra in D, Op. 77 - Third Movement
Waltz, Op. 39, no. 15
Concert for Piano and Orchestra No. 2 in B-flat, Op. 83 - Second Movement
String Quintet in G, Op. 111 - Second Movement
Symphony No.4 in E minor, Op. 98 - Third Movement
Intermezzo in A minor, Op. 76, no. 7
Hungarian Dance No.1 in G minor
German Requiem Selig sind die Toten (Final Chorus)
Die Fledermaus - Overture
Kaiser Waltz, Op.437
Thunder And Lightning Polka, Op. 324
Roses From The South Waltz, Op. 388
AnnenPolka, Op. 117
Vienna Blood Waltz, Op. 354
Eljen A Magyar Polka, Op. 332
Wine, Women and Song Waltz, Op. 333
On The Beautiful Blue Danube Waltz, Op. 134
Die Meistersinger Von Nurnberg - Overture
Tannhauser - Die Pilger sind's (Pilgims' Chorus)
Tannhauser - O du mein holder Abendstern (Wolfram's Aria)
Lohengrin - Act 3 Prelude and Bridal Chorus
The Flying Dutchman - Jo-ho-he Traft ihr das Schiff (Senta's Ballad)
The Flying Dutchman - Steuermann, lass die Wacht (Sailors' Chorus)
Die Walkure - Wintersturme wichen dem Wonnemond (Siegmund's Aria)
Die Walkure - Ride of the Valkyries
Siegfried Hoho! Hoho! Hohei! Schmiede mein Hammer (Siegfried's Forging Song)
Tristan und Isolde - Liebestod
Thus sprach Zarathustra, Op. 30 (excerpt)
Don Juan, Op. 20
Eine Alpensinfonie, Op. 64, I.Nacht
Don Quixote, Op.35, first movement: Introduction
Salome, Op. 54, Dance Of The Seven Veils
Der Rosenkavalier, Op. 59, Finale: Hab' mir's gelobt ihn lieb zu haben
Piano Concerto 2 In C minor, Op. 18 - First Movement
Vocalise, Op.34, No. 14
Prelude In G Sharp minor, Op. 32, No. 12
Piano Concerto No. 4 In G minor, Op. 40 - Third Movement
Symphony No. 2 In E minor, Op. 27 - Third Movement
Piano Concerto No. 1 In F sharp minor, Op. 1 - Second Movement
Rhapsody, Op. 43 On A Theme By Paganini
Hungarian Rhapsody No.2
Liebestraum No.3 in A-flat
Piano Concerto No.1 in E-flat - third movement
Angelus
Mephisto Waltz No.1 (Dance in a Village Tavern)
Prelude and Fugue on B-A-C-H
Dante Symphony - Finale. - Purgatorio - Magnificat
Les Préludes
Boléro
Daphnis et Chloé first movement: Nocturne
Rhapsodie Espagnole
Shéhérazade - first movement: Asie
Ma Mère l'Oye - fourth movement: La Belle et la Bête
Introduction and Allegro for Harp, Flute, Clarinet, and String Quartet
La Valse
Slavic Dance No. 1 in C, Op. 46, no.1
Symphony No. 9 in E minor, Op. 95 'From the New World' - second movement
Humoresque, Op. 101
Slavic Dance No. 8 in G minor, Op. 46, no. 8
Serenade for String Orchestra, Op. 22 - second movement
Romance for Violin and Orchestra In F minor, Op. 11
Symphony No. 7 in D minor - third movement
Melodie (Songs My Mother Taught Me)
Carneval Overture, Op. 92
Concerto for Cello and Orchestra in B minor, Op. 104 - third movement
Symphony No.4 In A, Op. 90. Italian - First Movement
Frühlingslied In A, Op. 62, No. 6
Wedding March (From A Midsummer Night's Dream, Op.61)
Duetto In F, Op.30, No.6 (From Songs Without Words)
String Symphony No.9 In C. Schweitzer Symphony - Third Movement
Concerto For Violin, Piano And String Orchestra No. 1 In D minor - Second Movement
Symphony No.3 In A minor, Op.56 Scottish - Third Movement"
Notturno (From A Midsumment Night's Dream, Op. 61)
Rondo Capriccioso, Op.14
String Symphony No. 12 In G minor - First Movement
Venetian Gondola Song In F Sharp minor, Op.30, No.6
Scherzo (From A Midsumment Night's Dream, Op. 61)
Violin Concerto In E minor, Op.64 - Third Movement
Peer Gynt - Suite No. 1, Op. 46 - Morgenstimmung
Holberg Suite, Op. 40 - I. Prelude. Allegro vivace
Holberg Suite, Op. 40 - IV. Air. Andante religioso
Arietta, Op. 12, no. 1
Homage March from Sigurd Jorsalfar, Op. 56
Peer Gynt - Suite No. 2, Op. 55 - Solveig's Song
Wedding Day at Troldhauen, Op. 65, no. 6
The Last Spring, Op. 34, no. 2
Peer Gynt - Suite No. 1, Op 46 - Anitra's Dance
Nordic Melody Op. 63
Notturno, Op. 54, no. 4
Elegie, Op. 47, no. 5
Peer Gynt - Suite No. 2, Op. 55 - Arabic Dance
Piano Concerto in A minor, Op. 16 - Allegro
Symphony No. 3 in E flat, Op. 97 - Rhenish - first movement
Traumerai (from Kinderszenen, Op. 15)
Mondnacht (from Eichendorff-Liederkreis, Op. 39)
Aufschwung (from Fantasietucke, Op. 12)
Triolett, Op. 114, no. 2
Tanzlied (No. 1 from Duets, Op. 78)
Symphony No. 4 in D minor, Op. 120 - second movement
Frühlingsgruss
Abschied (from Waldszenen Op. 82)
Dichterliebe, Op. 48 - Im wunderschonen Monat Mai
Manfred Overture, Op. 115
Romance in F sharp, Op. 28, no. 2
Die Rose stand im Tau
Liebesgarten (from Four Duets, Op. 34)
Warum? (from Fantasiestucke, Op. 12)
Kennst du das Land, Op.79, no. 29 (from Lieder der Mignon, Op. 98a)
Von fremden Landern und Menschen (from Kinderszenen, Op. 15)

Album Description

An extraordinary 20-CD collection of great works by Bach, Vivaldi, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, Tchaikovsky, Brahms, Ravel, Mendelssohn, Rachmaninoff, J. Strauss, R. Strauss, Schumann, Wagner, Dvorak, Grieg and Liszt. It also features worldrenowned artists such as Sir Neville Marriner, Martha Argerich, Ivo Pogorelich, Hermann Prey, Reiner Goldberg, Sylvia Sass, Jochen Kowalski, Peter Schreler and many more. This exquisite, copper metallic, deluxe boxed set is the perfect gift for the classical music neophyte.

Customer Reviews:

Mill. Classical review.......2007-05-13

This is a great set of recordings for the money, the only problem was I've had to clean some of the CD's before they played correctly.

classical music for the unitiated.......2007-04-01

This set is a good way to start listening to classical music. It's very well produced and easy to listen to. I purchased it to use as part of my world history high school class. It would have been nice to have some bio information on the composers. However, the product is exactly as advertised and good value for the money. The students were intrigued by how many of the excerpts they had heard before.

Some little gems there that I had forgotten!.......2007-03-30

Although I studied classical music at school, I had all but forgotten it until I bought this set. I heard several tracks I haven't heard for over 30 years, and I had been humming Brahms's 'Hungarian Dance no. 5' for years without ever knowing what it was and it was on the disc, so that was nice.

I found it to be a very good selection overall, but I felt too much had already been heard on TV, which of course is what lots of newcomers to classical music might appreciate. I managed to find about 2 hours of tracks that I wanted to keep, which works out quite expensive per disc, but I did find some wonderful music I had completely forgotten about, so it was worth it. All in all, it represents good value, and I have only knocked one star off as so much of it had been used in adverts.

It is definitely a good introduction to classical music, and it has made me want to listen to more of it, so I don't regret this 'expensive' purchase one bit!

Classical Masterpieces of the Millennium [20 CD Set]

A very helpful collection.......2007-03-24

I define this set as an excellent way to find out who you like, and who you don't, among 20 of the important composers. It opens the door to purchasing more complete pieces by composers you do like, and can save a lot of time and money in the process.
To criticize the set for not containing more composers, or more than just snippets of those who are in the set, is missing the point: it is a helpful introduction to finding your way in the huge maze of classical music. It succeeds admirably in this.
Sound quality is uniformly very good on an audiophile system.
Highly recommended.

Excellent!.......2007-03-08

A great way to start a classical music collection. It's nice to have a full CD of each composer. It makes it easy to keep track of selections/composers I already have and what composers I still need to puchase to complete my collection.

Average customer rating:

Fine anthology but still prefer her "Four Last Songs" recording
RIP DAME ELIZABETH (1915-2006)
SCHWARZKOPF ----- ONE OF THE GREATS OF THE TWENTIETH CENTURY
¡PERFECT!
PERFECTA INTERPRETACIÓN

The Very Best of Elisabeth Schwarzkopf

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

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Czech | Languages | Opera & Vocal | Styles | Music

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Similar Items:

Great Recordings Of The Century - Elisabeth Schwarzkopf Sings Operetta / Ackermann
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ASIN: B0000AF1SC
Release Date: 2003-09-02

Tracks:

Ach War Ich Schon (Fidelio)
Non So Piu (Le Nozze Di Figaro)
Porgi, Amor (Le Nozze Di Figaro)
E Susanna Non Vien!...Dove Sono (Le Nozze Di Figaro)
Mi Tradi Quell'Alma Ingrata (Don Giovanni)
Come Scoglio (Cosi Fan Tutti)
Leise, Leise, Fromme Weise (Der Freischutz)
Dich, Teure Halle (Tannhauser)
Einsam In Truben Tagen (Lohengrin)
Wie Fremd Und Tot (Die Verkaufte Braut)
Bruderchen, Komm, Tanz Mit Mir (Hansel Und Gretel)
Da Geht Er Hin (Der Rosenkavalier)
Es Gibt Ein Reich (Ariadne Auf Naxos) - Richard Strauss
Das War Sehr Gut (Arabella)

Tracks:

Jauchzet Gott In Allen Landen
Bist Du Bei Mir
Ridente La Calma
An Die Musik
Der Musensohn
Nachtviolen
Der Musensohn
Auch Kleine Dinge
Mein Liebster Ist So Klein
Verschling' Der Abgrund
Ich Hab' In Penna
Wiegenlied Im Sommer
Mausfallenspruchlein
In Dem Schatten Meiner Locken
Mignon (Kennst Du Das Land?)
Gsatzli (Swiss Folksong)
Fruhling
Im Abendrot
Muttertandelei
Zueignung
Klange Der Heimat (Die Fledermaus)
Es Lebt'Eine Vilja (Die Lustige Witwe)
Im Chambre Separee (Der Opemball)
Wien, Du Stadt Meiner Traume

Amazon.com

Elisabeth Schwarzkopf was certainly one of the greatest singers of her own, or indeed any other time. An obsessive perfectionist, her flawless technique and intonation over a huge range, vocal flexibility, breath control, phrasing, stylistic versatility, and above all her focused, radiantly beautiful sound were matchless and incomparable. All these are on full display on this generous 2-CD set, which features over a dozen arias, songs by Schubert, Wolf and Richard Strauss, and some lighter fare. The recordings were made between 1950 and 1967, and the singing becomes better and better, the voice richer and more varied, the expression deeper and more immediate. Not surprisingly, the peaks come in the arias from her signature roles in Mozart's Figaro, Don Giovanni, and Cosi fan tutte; Richard Strauss' Ariadne, Rosenkavalier, and Arabella, which rise to real ecstasy; and arias from Weber's Freischütz and Smetana's Bartered Bride, which are wonderfully intimate and touching. She is less convincing in roles she never sang on stage, and the "childish" voice she cultivated especially for Hänsel and Gretel is unnatural and contrived. The same is true of the last two "popular" numbers, which sound condescending and artificial. The songs, however, have all her customary finesse and inwardness; the Wolf group, perhaps chosen for its gentle humor, is charming, while Strauss' "Four Last Songs" (represented by two) shimmer and soar. Schwarzkopf's singing had instantly recognizable characteristics: a tendency to hold back both vocally and emotionally, giving a sense of noble restraint, but also of cool detachment; excessive use of color and nuance, creating a fussy, calculated and somewhat artificial air. Only rarely does she "let go" with full voice and spontaneous feeling. However, as these recordings show, she invariably inspires admiration and captures ear and heart through the inimitable, glorious beauty of her voice. --Edith Eisler

Customer Reviews:

Fine anthology but still prefer her "Four Last Songs" recording.......2006-11-06

The engineering and audio quality of these 1960's performances are surprisingly good. The songs are wonderfully peformed and cover a range of periods and styles, but I find myself returning to her recording (also re-released on CD) of Strauss' "Four Last Songs", which I would give 6 stars -- my favorite recording of all time.

RIP DAME ELIZABETH (1915-2006).......2006-08-04

This set is a fine tribute to this extraordinary singer and musician. I was saddened to read about her passing. She had a long life (90 years) and inspired a whole generation of singers and music lovers throughout the world.

SCHWARZKOPF ----- ONE OF THE GREATS OF THE TWENTIETH CENTURY.......2006-01-29

Elisabeth Schwarzkopf's career is what legends are made of. She is every bit as fundamental to classical singing in the twentieth century as is Maria Callas. Schwarzkopf sang with refinement, polish, beauty of voice, and meticulous articulation. She was the greatest Mozart and Strauss soprano of her day; her ability to sing the operetta music of Lehar, Suppe', and Johann Strauss has not been equalled; she performed with distinction orchestral compositions of Mahle