Strauss: Four Last Songs; Final Scenes

Nina Stemme/Antonio Pappano/Orchestra Of The Royal Opera House, Covent Garden | Format: MP3 Download

Product Details

• Original Release Date: April 2, 2007
• Release Date: April 2, 2007
• Label: EMI Classics
• Copyright: (C) 2007 EMI Records Ltd.
• Total Length: 56:16
• Genres:
• ASIN: B000TENILU
• Average Customer Review: 3.5 out of 5 stars  See all reviews (14 customer reviews)
• Amazon Best Sellers Rank: #244,686 Paid in MP3 Albums (See Top 100 Paid in MP3 Albums)

Customer Reviews

Most Helpful Customer Reviews

4 of 4 people found the following review helpful:

4.0 out of 5 stars A Fine addition to the Strauss catalog., July 23, 2007

By 

OperaOnline.us "OperaOnline.us" (Boston, MA) - See all my reviews

This review is from: Richard Strauss: Four Last Songs (Audio CD)

For her debut solo recital disc on the EMI label, dramatic soprano wunderkind chose to record Richard Strauss' "Four Last Songs" along with the final scenes from "Salome" and "Cappricio." Hearing Ms. Stemme perform these is a revelation, and she demonstrates why no one else can do quite what she does. Her performance here is stellar, dramatic, and, perhaps, unmatched by any of her peers. Ms. Stemme is able to move from that bombastic and dramatic final scene from "Salome" to the pensive and stately final scene from "Cappricio" with ease. Moving from a vengeful teenage girl to a wiser, elegant Countess and then into the "Four Last Songs," she uncovers the dramatic tension of each piece with care, allowing each piece to build, as her rich, powerful soprano voice caresses each note. The booklet accompanying the CD includes an introductory essay on Richard Strauss and his music by Michael Tanner, song texts, and translations in German and French. Unfortunately, no artist biographies or notes from Ms. Stemme are included. Considering that these pieces have been recorded so often, this release is a welcome breath of fresh air. Nina Stemme's recording is a more than fine addition to the Strauss catalog that no lover of the soprano voices should be without. (RTS) This review appeared at OperaOnline.us

4 of 4 people found the following review helpful:

4.0 out of 5 stars Marvellous Salome, May 24, 2007

By 

Dag Kyndel "Kottebo" (Stockholm, Sweden) - See all my reviews
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This review is from: Richard Strauss: Four Last Songs (Audio CD)

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 depts 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!

4 of 4 people found the following review helpful:

4.0 out of 5 stars A gratifying new voice for Strauss, May 19, 2007

By 

Santa Fe Listener (Santa Fe, NM USA) - See all my reviews
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This review is from: Richard Strauss: Four Last Songs (Audio CD)

Amazon seems to have hired a new reviewer, and for once I hear what he hears. As Mr. Pines points out, Stemme's voice has a prominent vibrato that probably helps it carry in the opera house but is intrusive on CD when she sings either loud or high. It's unusual to hear a dramatic soprano undertake these songs, even though Kirsten Flagstad debuted them with Furtwangler. For anyone who wants to hear a Deborah Voigt-style voice in the Four Last Songs, Stemme does well, and Pappano provides really superior accompaniment, in a class with Karajan and Szell.

Stemme's capacious voice makes more sense in the final scene from Salome, where Pappano again provides great accompaniment, as good as anyone could want in terms of vividness and excitement. My reaction is about the same as to the songs. I like Stemme's timbre, despite the vibrato (which, alas, will probably turn into a wobble fairly soon), and she makes Salome's yearning for Jokanaan poignant rather than crazed or sexually abandoned. There have been almost no voices recently that can encompass this taxing role, so congratualtions to Ms. Stemme, who dives in fearlessly, even if her achievement is only partial. In the end, it will be Pappano's contribution and EMI's excellent recorded sound that I will remember.