Music / solosang

Richard : Strauss - Wagner


Reviews (79)


The guardian

d. 30. May 2019

By

By

Erica Jeal

d. 30. May 2019

"No emerging soprano has made quite the same stir recently as Lise Davidsen. Here, finally, is her first solo CD. It covers Wagner and Strauss repertoire recorded by many of the greatest voices - and yet several of Davidsen's versions go straight towards the very top of the playlist. It's not just the voice - though that is special in itself, gleaming and electric in tone, and buoyed by a seemingly endless supply of breath. It's also the way she is able to create a still fulcrum even while all Wagner and Strauss's orchestral manoeuvres churn around her".


Classics today

2019

By

By

Robert Levine (musikanmelder)

2019

"This almost knocked me over. I truly have not heard a voice of this grandeur in years: it sounds as if it's enormous, the tone is beautiful, the registers unbroken. The focus is almost Nilsson-like but by leaning slightly on the tone she brings a warm glow, and I defy anyone to find a weak spot or unsupported note. Add to that the sheer allure of the voice-womanly and colorful ... Davidsen is a phenomenon, a singer with a technique so solid that her singing is utterly devoid of trickery. She has a habit of starting a note straight, without vibrato and then expanding it - it reminds me of Nilsson; and the way she releases high notes, just like "that", is thrilling. And the voice never loses color, not even in quiet singing. My advice: get in at the start. She's great and I bet she'll only get better".


AllMusic

2021

By

By

James Manheim

2021

"The market is glutted with recordings of Richard Strauss's Four Last Songs, and even the Seven Early Songs of Berg are not uncommon, but to hear these works in the voice of Piau, whose background is in Baroque music, is to hear them anew. Piau's clear lines and restrained use of vibrato stand in sharp contrast to the oversize styles of the German operatic sopranos who usually undertake this repertory, and while hers are neither particularly French nor Baroque readings, they have an attractive soberness and gravity".


RBB Kultur

d. 20. Feb. 2021

By

By

Matthias Käther

d. 20. Feb. 2021

"Durchweg sehr schöne Lieder, den grössten Platz nimmt aber der "Krämerspiegel" ein - der vielleicht sonderbarste Liedzyklus der Musikgeschichte mit einer ebenso sonderbaren Entstehungsgeschichte ... Behle hat als Liedsänger einige grosse Tugenden. Man versteht fast jedes Wort, der Text ist blitzsauber artikuliert, er nimmt ihn nicht immer bierernst - manchmal liegt bei ihm ein Hauch von Ironie auf den hochromantischen Liedern".


Klassik.com

d. 15. June 2023

By

By

Oliver Bernhardt

d. 15. June 2023

"'Der Sänger, 'Geistesgruss' und 'Wanderers Nachtlied' bestechen durch satztechnische Kompetenz im Klavierpart und musikalisch-textlichen Beziehungsreichtum - gesanglich eindrucksvoll modelliert von Groissböck ... Martineau überzeugt in den charakteristischen Klavier-Epilogen sowohl hier als auch in 'Geistesgruss'. Die Kontraste des zielstrebig markant artikulierten 'Revelge' aus Mahlers 'Des Knaben Wunderhorn' und der Klaviertranskription des 'Urlicht' aus der 'Auferstehungssymphonie' zeigt die Wandelbarkeit von Groissböcks Stimme zwischen voluminöser Tiefe und lyrisch innehaltendem Pianissimo".


Klassik heute

d. 29. Mar. 2024

By

By

Ekkehard Pluta

d. 29. Mar. 2024

"Die im fernen Istanbul aufgenommene CD mit dem magischen Titel RICHARD (in Großbuchstaben) verbindet drei der anspruchsvollsten Partien Wagners mit sechs Klavierliedern von Richard Strauss, die hier in ihren Orchester-Versionen gegeben werden. Gemeinsam ist den drei Opernszenen, die man nicht als Arien bezeichnen kann ... Was er als Sänger und als Interpret [Behle] in diesen drei Ausschnitten leistet, ist allerdings wirklich außergewöhnlich. Wie sich die Plastizität der gesungenen Texte mit einem belcantesken Legato verbindet, nötigt höchste Bewunderung ab".


MusicWeb international

2019 August

By

By

Ralph Moore (musikanmelder)

2019 August

"Davidsen sings those Four Last Songs confidently, with full tone ... Salonen and the Philharmonia are at their best in these songs ... refined and sensitive ... My fears that voices of real quality are becoming increasingly rare have been assuaged somewhat by the advent of three sopranos over recent years: Dinara Alieva, Veronika Dzhioeva and now Lise Davidsen; perhaps rumours of the demise of the diva are premature".


MusicWeb international

2019 June

By

By

John Quinn (musikanmelder)

2019 June

"Recommended: Lise Davidsen has made a very considerable recording of these great songs and the fact that the remainder of the programme is on the same exalted level just makes the disc all the more attractive. Esa-Pekka Salonen and the Philharmonia prove to be ideal and sympathetic partners at every turn ... This is a distinguished disc".


Presto classical

d. 31. May 2019

By

By

Katherine Cooper

d. 31. May 2019

"Recording of the week: Davidsen's about far more than rafter-rattling decibels: the Prayer to the Virgin from Tannhäuser showcases her apparently limitless reserves of breath and capacity for singing of extreme inwardness, whilst Es gibt ein Reich demonstrates the complete seamlessness of her instrument, from a low A flat that would put many a contralto to shame to an upper register that unfurls gloriously in the aria's final demanding stretches".


Presto classical

d. 19. Mar. 2021

By

By

Katherine Cooper

d. 19. Mar. 2021

"Recording of the week: Piau approaches the Four Last Songs entirely on her own terms, making full use of the colours at her disposal but never manufacturing weight or darkness that doesn't come naturally into the voice, and conductor Jean-François Verdier supports her at every turn; whilst there's plenty of forward momentum in each song, the relatively swift tempi never short-change the music, and textures retain a refreshing translucence".


The Classic Review

d. 2. Apr. 2021

By

By

Leighton Jones

d. 2. Apr. 2021

"The greatest Strauss singers have a much grander richness in their lower voices, which is characteristic of their dramatic voices. Piau's more lyrical quality soars beautifully and is technically secure, but occasionally too controlled and less expressive ... Piau certainly brings something very personal to this repertoire, which makes for an intriguing listen, especially with the cleaner orchestral sound. A curious listen indeed".


MusicWeb international

2012 August

By

2012 August

"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 ... In sum, this is singing as it should be, so many planes of ability above what passes for it in popular culture. A must for connoisseurs of the musical voice".


DR musik

2009 uge 10

By

By

Jens Cornelius

2009 uge 10

"Vurdering: Ugens cd" - "Hun er en af de bedste danske sopraner nogensinde og har vel næppe været bedre, end hun er lige nu ... Inger Dam-Jensen er en sopran lige efter Strauss' hoved. Glitrende brillant, smidig, feminin og fabelagtig velklingende ... Hun ledsages af den nok bedste akkompagnatør i verden, den skotske pianist Malcolm Martineau, der har et uforligneligt lydhørt og meddigtende spil. Martineau, Strauss og Jensen er et musikalsk "dream team", og det ved man godt ovre i England, hvor cd'en er udgivet".


Classical CD review

2008 October

By

By

R.E.B.

2008 October

" This young tenor possesses a remarkably expressive voice with only the slightest trace of vibrato. He obviously loves and understands these magnificent Strauss songs, and is aided considerably by the exquisite accompaniment conducted by the remarkable Simone Young, who is as compelling in Strauss as she is in Bruckner. Beautiful audio, with the voice perfectly placed, and complete texts and translations".


Presto classical

d. 19. Mar. 2021

By

By

Katherine Cooper

d. 19. Mar. 2021

"Recording of the week: Behle serves up this veritable banquet of invective [Krämerspiegel] with sardonic, cabaret-esque glee. Never afraid to make an ugly sound when the text requires it (which is often), he also supplies real tonal beauty in the phrases representing the noble artist-creator, and Oliver Schynder works miracles with the extended solo piano passages".


Klassik.com

d. 23. Nov. 2007

By

d. 23. Nov. 2007

"Waltraud Meier gestaltet die Lieder Schuberts mit feinsten Nuancierungen zwischen lyrischer Hingabe und dramatischen Ausbrüchen ... es ist zu hoffen, dass dieser ‘Ausflug’ zur Quelle nicht ihr letzter sein wird".


MusicWeb international

2018 April

By

By

Göran Forsling (f. 1942)

2018 April

"Good Mozart sopranos tend to be good Straussians as well, and with the previous disc in fresh memory I had high expectations when the new disc arrived. I had no reason to be disappointed ... The beauty of her voice, her breath control, the way she floats the tone in long legato phrases, softly and sensitively ... Most of these songs have of course been recorded hundreds of times by all the great lieder singers ... but Maria Bengtsson stands up well by comparison ... No one should be disappointed in this issue".


jcklassisk

d. 7. May 2014

By

By

John Christiansen

d. 7. May 2014

"Karakteristisk for så at sige alle Strauss' lieder er, at de er melodisk smukke ... Man skal lytte til dem i udvalg. Også til Thomas Hampson, som ikke synger dem med store individuelle forskelle. Det er næsten for meget med cd'ens 70 minutter ud i et stræk, for Hampson er nu ikke ophidsende".


MusicWeb international

2023 April

By

By

Göran Forsling (f. 1942)

2023 April

"Austrian Günther Groissböck has steadily climbed the ladder towards the top-layer of operatic basses and is in demand from all the big houses ... I have still not completely come to terms with Groissböck's singing, but the fault is probably mine, and he is partnered by one of the most masterly accompanists now before the public, Malcolm Martineau, whom I have admired both live and on literally hundreds of recordings. There are some rarities here that are well worth a listen and the recording cannot be faulted".


MusicWeb international

2024 February

By

By

Mike Parr (musikanmelder)

2024 February

"The quirky title of this CD does not leave one to expect a disc of Strauss orchestral songs to be blended with arias from Wagner's operas, as they are very differing species. The Strauss songs are backed by a large orchestra, but they retain the intimacy of their piano settings, whereas the Wagner scenes are big, dramatic undertakings, which call for more theatrical flair ... Daniel Behle has a very forwardly-placed tone and can demonstrate a ringing upper range when he chooses to ... The Wagner scenes are generally the most effective tracks on the disc ... The support given to him by Thomas Rösner and the Turkish orchestra is of a very high standard".


MusicWeb international

2012 July

By

By

Göran Forsling (f. 1942)

2012 July

"Those who have bought one or more of his earlier recitals will need no persuasion to add this one. Those who haven't should rectify that obvious lack in their collection without delay. This is my Recording of the Month. Without doubt it will be one of my Recordings of the Year when we reach December".


Kristeligt dagblad

d. 16. Feb. 2011

By

By

Jakob Holm

d. 16. Feb. 2011

"Der mangler nok lidt energi og humør midt i al denne sjælsgranskende introspektion, men stadig er der masser at komme efter, hvis man bare indtager det i doser, for Damrau er en vidunderlig sanger med et kalejdoskopisk farvespektrum og en gribende fraseringsevne. Hun kan synge det smukkeste pianissimo med følelserne uden på tøjet, så man mærker den der rislen, men også være dramatisk kvalfuld, så det gør ondt ... Store sager".


Politiken

d. 10. Mar. 2011

By

By

Thomas Michelsen

d. 10. Mar. 2011

"Skønt dette er koncertoptagelser ... er de musikalske resultater skønne og til dels dejligt overraskende ... Damrau har både lys og sødme, og ... Christian Thielemann leverer orkesterakkompagnementer, der aldrig er mindre end fængende, for en sanger, der har den rette stemme til disse lieder. Hun er fremragende, når hun folder talentet ud og lader Richard Strauss' notoriske glæde ved at skrive for sopran resultere i fuldbåren liedkunst ... Mange glimt af en fascinerende Strauss-stemme".


Berlingske tidende

d. 19. Jan. 2011

By

By

Søren Schauser

d. 19. Jan. 2011

"Enhver sangerinde vil misunde hendes højde ... At stemmen sommetider savner vitaminer nede i dybden, betyder heller ikke noget. Men gid hun havde gjort Strauss' lange toner mere spændende ... Der kan kort sagt ske for lidt på Dianas jagtmarker. Altså lige indtil hun synger den næste høje tone og man glemmer al kritikken igen".


Politiken

d. 10. Mar. 2009

By

By

Henrik Friis (f. 1978)

d. 10. Mar. 2009

"Hendes 'Zueigning' sidder lige i skabet. Begge er fremragende ledsaget. Inger Dam-Jensen endda af den internationale stjerneakkompagnatør Malcolm Martineau, der for ti år siden, er det vel efterhånden, lavede et tilsvarende, virkelig anbefalelsesværdigt Strauss-album med Barbara Bonney på Decca".


Politiken

d. 10. Mar. 2009

By

By

Henrik Friis (f. 1978)

d. 10. Mar. 2009

"Camilla Tillings stemme er i sig selv spændende. Dens frie, lette svæv og naturlige stænk af vemod er en nydelse Den indledende 'Rote Rosen' gør hun perfekt, og Strauss' rørende sang om kærlighed efter døden, 'Allerseelen', tackler Tilling, så det gyser. Både på grund af tekst og vokalbehandling. For ofte er der imidlertid noget kalkuleret over Tillings forsøg på at bruge sin smukke stemme til tekstfortolkning. Nogle gange lykkes det slet ikke".


Jyllands-posten

d. 25. Apr. 2014

By

By

Jens Povlsen

d. 25. Apr. 2014

"Amerikaneren Thomas Hampson ... med de fintmærkende stemmebånd [nøjes] ikke med at cirkle rundt på jorden mellem vinternætter og morgenstemninger. Han tager også svinget ind til de store, smertefulde følelser ... Spændvidden i de 18 lieder er bemærkelsesværdig, selv om Hampson på intet tidspunkt jagter de store effekter. I stedet lader han de små kontraster bygge kulminationerne op".


Politiken

d. 23. June 2014

By

By

Thomas Michelsen

d. 23. June 2014

"Hans måde at synge på er på en gang for kedeligt redegørende og for voldsomt blafrende. Den noble amerikaner kan ikke helt skjule sin amerikanske accent i Strauss' tyske lieder, og det er, hvad det er. Men dykker man ned i de mange nattesange på hans Straussalbum, udstilles det allerede med den enkle ' Die Nacht', at stemmen er for stor til formålet".


Politiken

d. 21. Jan. 2020

By

By

Thomas Michelsen

d. 21. Jan. 2020

"Sopranen Elsa Dreisig er ude med sit andet soloalbum ... Pianotonerne glitrer som sol på bølger under Dreisigs diset-bløde stemme ... Elsa Dreisig har en flydende lethed i foredraget, og hendes lysende flydende toptoner i 'Frühling' i Strauss' ' Vier letzte Lieder' er delikate og smidige ... Som album er 'Morgen' lige et nyk mindre fascinerende end Dreisigs fantastiske, ambitiøse operadebutalbum 'Miroir(s)' fra 2018, og mange vil nok savne lyden af et symfoniorkester i baggrunden på 'Vier letzte Lieder' ... Men det er en fornøjelse at høre, hvor omhyggeligt Elsa Dreisig arbejder med både de musikalske fraser og teksterne".


BBC music magazine

2012 June

By

By

David Nice

2012 June

"The tone at first is one of straightforward intimacy ... This is a rich, almost heroic voice, modulating its way with seeming effortlessness through the bigger numbers at the heart of the recital ... If you like your Strauss done without apparent fuss or overt word-pointing, there's nothing else to fault here".


Fono Forum

2012 März

By

By

Gerhard Persché

2012 März

"Vurdering: Tipp" - "Isokoski gestaltet dies mit perlmuttfarbenem Timbre subtil, differenziert, geschmackvoll, wunderbar auf dem Atem phrasiert, vereinigt Textdeutlichkeit mig vorzüglicher musiklischer Linienbilding".


BBC music magazine

2019 August

By

By

David Nice

2019 August

"Norwegian lyric-dramatic soprano Lise Davidsen's voice is one in a million, wielded with intelligence and colour ... So why has this debut disc let her down? Live, Davidsen's richness has its own inbuilt warmth. Decca needed to find the recorded bloom to support her, but the sound is as dry and under-nourishing for the lustrous Philharmonia Orchestra as it is for the singer ... The other drawback is the conducting of Esa-Pekka Salonen ... He doesn't help Davidsen soar as the music demands ... Pluses? Many ... it just wasn't a lovely listening experience".


Klassisk

2019, nr. 55

By

By

Henrik Engelbrecht

2019, nr. 55

"Siden 2015 ... har Lise Davidsen været de store operahuses førstevalg i det, man kunne kalde "det ungdommelige" Wagner/Strauss-repertoire ... Her viser Lise Davidsen for alvor, at hun ikke blot er operasanger ... Ikke en eneste gang vakler stemmen, ikke en eneste gang er intonationen tvivlsom ... Som norsk sopran i Wagner-repertoiret er det helt uundgåeligt, at Lise Davidsen allerede helt fra begyndelsen af sin karriere er blevet sammenlignet med kollegaen Kirsten Flagstad ... Den sammenligning for mig personligt falder ud til Lise Davidsens fordel ... Esa-Pekka Salonen og det engelske Philharmonia Orchestra leverer i det hele taget enestående gennemsigtigt orkesterspil ... Efterårets vigtigste cd i min samling".


Diapason

2014 septembre

By

By

Hélène Cao

2014 septembre


BBC music magazine

2014 August

By

By

Hilary Finch

2014 August

"The Bavarian soprano is a delectably light, idiomatic Straussian, and the covered, pearly underside of her voice is the perfect instrument with which to recreate the secret moments and intimacy of the songs she has selected here".


Fono Forum

2013 Juli

By

By

Christoph Zimmermann

2013 Juli

"Umso mehr imponiert die grosse, von innen her aufgebaute Ausdrucksspannung von 'Befreit', wo Christiane Oelzes Sopran bei aller Zartheit förmlich zu glühen scheint".


BBC music magazine

2010 February

By

By

David Nice

2010 February

"Vurdering: BBC choral song choice" - "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".


BBC music magazine

2021 July

By

By

Paul Riley (musikanmelder)

2021 July

"Shunning the velvety voluptuousness of a Jessye Norman or the wide-eyed textual probing of a Schwarzkopf, she brings a freshness of perspective that encourages the reconsideration of cherished prejudices ... Not only does Clair-Obscur bestride some illuminating and unexpected juxtapositions, it confirms - were such confirmation needed - Piau's exuberant, allconquering versatility".


Fono Forum

2021 August

By

By

Bernd Feuchtner

2021 August

"Wir lieben Sandrine Piau für ihre passionierten Arien von Händel, Vivaldi, Mozart. In den letzten Jahren hatte sie ihr Repertoire aber auch schon in die Regionen von Poulenc, Britten, Saariaho erweitert ... Die Stimme konnte mit dem alten Repertoire in aller Ruhe reifen, und diese Erfahrung erlaubt der Sängerin eine faszinierend subtile Gestaltung, zumal sie in allen Registern eine ebenmässige - gedämpfte - Intensität wahrt ... Das Orchestre Victor Hugo aus Besançon unter seinem Chefdirigenten Jean-François Verdier begleitet kongenial mit langem Atem und - wiees dem Titel des Albums entspricht - gedecktem Farbenspiel ... Eine Dämmerstunde für empfindsame Seelen".


Klassisk

2021, nr. 61

By

By

Charlotte Nørby

2021, nr. 61

"Kontrasten mellem lys og mørke har altid interesseret den franske sopran Sandrine Piau. Nu har interessen udmøntet sig i et helt album med orkestersange, som beskæftiger sig med skumringen ... Sandrine Piau synger mageløst elastisk og slankt. Orkestret er det franske Victor Hugo Orkester, et ungt ikke så stort ensemble, og de spiller fint, og loyalt akkompagnerende med dirigent Jean-François Verdier ... Og så til sidst er der jo Richard Strauss' 'Vier letzte Lieder' ... Sandrine Piau synger sangen skønt med sin lyriske, fleksible stemme ... Det er meget smukt".


Fono Forum

2008 Dezember

By

By

Christoph Zimmermann

2008 Dezember

"Man könnte denken: Warum wieder diese bekannten Strauss-Lieder? Dann hört man den australischen Tenor Steve Davislim und weiss sofort: Darum! ... Die heutige Hamburger Chefin Simone Young versteht es, der Musik von Strauss eine Vielzahl individueller Klangfärbungen abzugewinnen".


Fono Forum

2021 Mai

By

By

Johannes Schmitz

2021 Mai

"CD des Monats: Die Krämerspiegel-Lieder sind verbal krass-vordergründige Satire, bei Strauss allerdings eingebettet in eine mitunter schwelgerisch verästelte Klangsprache ... Daniel Behle kann dank seiner höchst flexiblen und wortverständlichen Gesangskunst die Nuancen von Ironie bis offene Verwünschung gut fassbar darstellen. Schnyder erweist sich dabei als lustvoller Partner, der das rechte Mass zwischen Überspitzung und Ästhetisierung immer im Ohr behält ... Allesamt wunderbar geschmackvoll und technisch überragend musiziert".


BBC music magazine

2021 June

By

By

David Nice

2021 June

"In the first half of this intriguing not-quite-all-Strauss recital, tenor Daniel Behlte slips his own perfect little Strauss pastiche setting, Hermann Hesse's 'Der Schmetterling' ... Behle's way with it, and the rest, is inimitable. Miraculous longbreathed phrases in the slower winter and wood meditations, big near-heroic outbursts and a unique way with inward reflection all mark out the highest artistry ... The Schumannesque inspiration which ... later became the 'Moonlight Music' in Strauss's final opera Capriccio is beatifully done, and brings a surprising work to a heavenly end".


Fono Forum

2009 Juni

By

By

Christoph Vratz

2009 Juni

"Mit glasklarer Tongebung und auch in den Höhen sicher geführtem Sopran, mit sicherer Stimmführung auch bei kleinen Trillern, mit perfektem Legato und mit Mut zum Spitzbübischen ... Camilla Tilling, die opern-erfahrene schwedische Sopranistin, hinterlässt auf ihrer ersten Solo-CD einen überragenden Eindruck ... Paul Rivinius ist mehr al ein aufmerksamer Begleiter, er ist ein gleichberechtigter Partner".


Fono Forum

2018 Juni

By

By

Christoph Zimmermann

2018 Juni

"Der jungmädchenhafte Sopran von Maria Bengtsson ist, so fragil er im Ausdruck schon mal wirken kann, ein sicher geerdetes Organ ... Was die Sängerin in besonderem Masse auszeichnet, ist freilich ihre eminente Piano-Kultur, welche nicht zuletzt bei kursen Akzenten ... Wirkung macht ... Die Strauss-Anthologie wird einfach zur Droge. Diesen Eindruck verstärkt die nuancierte, quecksilbrige Begleitung durch die Pianistin Sarah Tysman".


Operabladet Ascolta

(2014) 33. årgang nr. 1

By

By

Henrik Marcussen

(2014) 33. årgang nr. 1

"Hampsons stemme rummer her som 58-årig fortsat en rigdom af facetter og styrke. Hans tolkninger udtrykker både tekstens klarhed og liedernes musikalske værdier. Trods som fremtrædende formidler af ikke mindst tysksproget musik skinner en ikke mundret tekstfortolkning igennem ... Tolkningerne antager karakter af oplæsning og kedsommelighed sniger sig ind".


Fono Forum

2014 Juli

By

By

Christoph Zimmermann

2014 Juli

"Der Stimme Thomas Hampsons besitzt nach wie vor jugendliches Flair, seine akzentfreie Artikulation und musikalische Sensibilität sind vorbildlich".


Fono Forum

2006 Dezember

By

By

C. Vr.

2006 Dezember

"Wenn Jonas Kaufmann Strauss-Lieder singt, klingt jede Phrase spannend, erfüllt, erregt - auch wenn nicht alle Gold ist, was seine tenoralen Stimmbänder zum Gläzen bringen ... Helmut Deutsch ist ihm ein ebenso temperamentvoller wie sensibler Partner".


Klassisk

2020, nr. 56

By

By

Henrik Engelbrecht

2020, nr. 56

"Elsa Dreisig viser sig her som fuldblods liedsanger - ikke som en operasanger, der synger lieder ... her udnytter Dreisig friheden til at lade være med at bruge flere kræfter end nødvendigt. Pianisten Jonathan Ware, en af tidens absolut mest efterspurgte liedpartnere, følger hver en nuance som en meddigtende skygge ... Dreisig synger hele vejen igennem med suveræn kontrol over stemme og udtryk ... endda med fremragende udtale på alle tre sprog".


Fono Forum

2020 April

By

By

Johannes Schmitz

2020 April

"CDs des Monats: Dreisig meistert die emotional bewegenden Megaphrasen und -aufschwünge und setzt ihr durchaus noch zur Zartheit fähiges lyrisches Material dabei sehr klug und technisch verblüffend sicher ein [in Strauss] ... Beeindrückend ist auch, welche Klangfülle Dreisig für Rachmaninow aufzubieten weiss. Für alle drei Komponisten bringt sie Einfühlungsvermögen, Vorstellungskraft und grosse innere Ruhe mit. Eine wahrhaft europäische Meisterleitung!".


Diapason

2020 février

By

By

Didier van Moere

2020 février


BBC music magazine

2020 April

By

By

Anthony Pryer

2020 April

"These performers are in their element with pieces that contains hints of a narrative ... In general, the Rachmaninov performances are better than those of Duparc where there is sometimes a problem with colouring the fleeting harmonic changes ... [Morgen] is certainly one of the finer performances available".


Fono Forum

2012 Mai

By

By

Christoph Zimmermann

2012 Mai

"Seine ausgesprochen jünglingshafte Tenorstimme, die ihn auch Schuberts "Hirt auf dem Felsen" problemlos interpretieren lässt, kommt nicht nur dem einleitenden "Ständchen" zugute, sondern bewahrt die Strauss-Lieder insgesamt vor grfährlicher Saccharin-Übersättigung".


BBC music magazine

2012 July

By

By

David Nice

2012 July

"Soft, inward rapture for Ständchen is Behle's excellent starting point ... The voice touches lightly and never sentimentally on the piano melody so gracefully sung by the subtle Oliver Schnyder. An easy confidentiality never allows over-inflection here. Behle has licence to do all the dynamics and colours ... A tenor with a candid, easy approach all his own".


International record review

2012 May

By

By

Piers Burton-Page

2012 May

"It will come as no surprise to Lieder lovers that there are fine things here ... As a collection, this release includes, of course, a feast of some of Strauss's greatest solo songs, all sung with high intelligence, in impeccable German, in beautiful sound, with accompaniments from Marita Viitasalo impeccably groomed ... There is a considerable amount to enjoy here, in a very distinguished recital".


The gramophone

2012 May

By

By

David Patrick Stearns

2012 May

"Soile Isokoski sings Richard Strauss almost as a singer of the composer's own time ... The problem with Isokoski is that her vocalising has ungracious edges".


Diapason

2019 été

By

By

Emmanuel Dupuy

2019 été

"Vurdering: Diapason d'or".


The gramophone

2019 June

By

By

Hugo Shirley

2019 June

"Editor's choice: Davidsen is no ordinary singer. Throughout the whole album one marvels at the voice, its easy grandeur and sheer size, its steely focus and security ... The timbre has a default cool beauty but she can flood it with warmth to fill out a phrase magnificently. These gifts are matched by the maturity, honesty and integrity of Davidsen's approach. This album only reinforces the fact that she is one of the greatest vocal talents to have emerged in recent years, if not decades".


Klassisk

2019, nr. 53

By

By

Per Rask Madsen

2019, nr. 53

"Norske Lise Davidsen er blevet noget af en anmelderfavorit her ... Men det er Philharmonia Orchestra og dets chefdirigent Esa-Pekka Salonen, der nu får æren af at spille med på hendes debut-cd ... Udover 'Vier letzte Lieder' indeholder albummet uddrag fra Tannhäuser, Ariadne på Naxos og udvalgte sange".


International record review

2014 September

By

By

Roger Pines

2014 September

"Martineau plays captivatingly for Karg ... Berlin Classics has recorded the programme beautifully".


The gramophone

2014 August

By

By

Richard Fairman

2014 August

"There is a danger that a solo recital will become tiring when a soprano voice voice is consistently on the bright side but Karg softens the tone where she can - a silvery shimmer of moonlight is cast over 'Die Nacht' ... In general, Karg and Martineau are reluctant to linger ... so everything stays light and fluent ... A rewarding disc".


Jyllands-posten

d. 18. Jan. 2000

By

d. 18. Jan. 2000


The gramophone

2011 March

By

By

John Steane

2011 March

"Diamna Damrau is sensous and expressive in Strauss".


International record review

2011 January

By

By

Christopher Cook (musikanmelder)

2011 January

"Thieleman has a very special affinity with singers. He also coaxes some fine playing from the Munich orchestra".


Opus

2021, nr. 104

By

By

Carl-Henric Malmgren

2021, nr. 104

"Klärobskyren rymmer både ljus och mörker. Begreppet förknippas mest med målarkonsten men återfinns även i mötet mellan musik och text. Det visar Sandrine Piau när hon hanterar annalkande död och den eviga kärlekens hopp med hjälp av musik från det tidiga 1900-talets Wien. I en personligt vald repertoar möter vi en annan sångerska än den mer välkända barockspecialisten Piau ... Richard Strauss Morgen har sällan framförts så vackert som här".


The gramophone

2021 May

By

By

Hugo Shirley

2021 May

"Editor's choice: On paper this new album from French soprano Sandrine Piau looks enticing enough. Listening to it, though, one realises quite what an inspired piece of programming it is ... The running time might seem a little stingy and Alpha's booklet could have been more carefully edited, but that does little to detract from another beguiling album from this superb artist. Highly recommended".


The gramophone

2012 October

By

By

Ivan March

2012 October

"Vurdering: Gramophone choice" - "Her voice and phrasing are still at their glorious finest, and so is her partnership with Johnson".


Jyllands-posten

d. 25. May 1999

By

d. 25. May 1999


Politiken

d. 10. Oct. 1999

By

d. 10. Oct. 1999


Berlingske tidende

d. 20. Oct. 1999

By

d. 20. Oct. 1999


Kristeligt dagblad

d. 6. Sep. 1999

By

d. 6. Sep. 1999


The gramophone

2021 July

By

By

Hugo Shirley

2021 July

"It's the performance of Krämerspiegel that's the album's undoubted highlight, though, funny and moving by turns. Behle sings with a suaveness and sense of mischief that's difficult to resist ... Schnyder's playing is superbly witty ... With luxurious, playful presentation and excellent documentation ... this enjoyable and revealing recital can be warmly recommended".


The gramophone

2018 July

By

By

Hugo Shirley

2018 July

"Maria Bengtsson is an experienced soprano with many major Strauss roles on her CV, and here she brings plenty of creamy tone and vocal security to a satisfying selection of the composer's songs ... Barnstorming is avoided, with the climaxes ... dialled down ... It's a fascinating approach, and one that is maintained with admirable consistency and restraint. It does also undoubtedly result in a couple of lovely performances ... But I also found myself starting to long for a bit more, some extra excitement ... Not a fully satisfying listen, then, but an often fascinating one nonetheless".


The gramophone

2014 July

By

By

Richard Fairman

2014 July

"Powerfully sung [Notturno] ... it marks a high point of Hampson's recital, in part because he is not always in such good voice elsewhere ... Hampson's singing is generally on a more operatic scale, giving songs like Heimliche Aufforderung ... an impressive weight of utterance ... Hampson's new disc makes an important addition to the list".


International record review

2006 July/August

By

By

Michael Tanner (musikanmelder)

2006 July/August

"I am delighted that the lyric tenor who seems to me easily the best of his generation ... has at last been accorded a solo Lieder recital by a major company. His distinction is immediately apparent on this disc in the way he sings Zuneigung ... the song leaves us poised to continue with the recital, and in a state of jubilation".


The gramophone

2020 February

By

By

Hugo Shirley

2020 February

"Editor's choice: One of the most purely seductive recitals to have come my way for a long time ... In Dreisig's introspective, understated performances we hear the Four Last Songs anew, each one fascinatingly set apart from the others in its new context ... And thanks to Ware's superbly dappled and delicate way with the accompaniment, they come across less as pale imitations of the orchestral originals than something like evocative, distantly remembered echoes ... Dreisig's beautiful soprano is velvety and soft-grained, and matches the musical world Ware conjures up superbly ... This is an album to relish".


The gramophone

2024 March

By

By

Hugo Shirley

2024 March

"The timbre itself is some way from what we're used to in this repertoire ... The tenor's intelligence and his experience as a lieder singer and Mozart interpreter bring their own rewards ... I can't really see the essentially lyric character of Behle's voice changing much, but it will nevertheless be interesting to follow how he grows into the repertoire".


International record review

2012 September

By

By

Mark Pullinger

2012 September

"A recital of Strauss Lieder from young German tenor Daniel Behle ... I was not disappointed. Behle's tenor has a honeyed tone capable of great intimacy ... Behle's singing is tasteful - he never resorts to crooning - with some beautiful head notes ... He is sensitively accompanied by Oliver Schnyder".



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