Strauss: Four Last Songs

Renée Fleming (Artist), Richard Strauss (Composer), Christian Thielemann (Conductor), Munich Philharmonic Orchestra (Orchestra) | Format: Audio CD

Product Details

• Orchestra: Munich Philharmonic Orchestra
• Conductor: Christian Thielemann
• Composer: Richard Strauss
• Audio CD (September 16, 2008)
• Number of Discs: 1
• Label: Decca
• ASIN: B001D27GJM
• In-Print Editions: MP3 Download
• Average Customer Review: 4.1 out of 5 stars  See all reviews (18 customer reviews)
• Amazon Best Sellers Rank: #128,443 in Music (See Top 100 in Music)

Editorial Reviews

Chicago Sun-Times

"With her silken tones, stunning technique, vocal intelligence and regal presence, Fleming remains a class apart, the definitive Strauss interpreter of our time."

Product Description

Renée Fleming, the world's preeminent lyric soprano, is joined by Christian Thielemann, internationally acclaimed for his performances of Strauss works, for this recording of the exquisitely beautiful Four Last Songs. These enduringly popular works have become signature pieces for the soprano and she was delighted for the opportunity to work with the gifted Thielemann. In addition, Fleming performs a selection of lieder with orchestra as well as arias from Ariadne auf Naxos and Die ägyptische Helena. Also available in a special, deluxe edition! In addition to the Strauss program, a second disc which highlights Fleming's signature roles at the Metropolitan Opera is included. These extended scenes are drawn from her highly-regarded Decca discography. On September 22, Fleming will open the Met Opera Season with a Gala featuring her in her most acclaimed roles. This one-night-only performance will be broadcast live in HD to movie theaters throughout the US.

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Customer Reviews

Most Helpful Customer Reviews

14 of 15 people found the following review helpful:

3.0 out of 5 stars Love Fleming, most of the time...., October 21, 2008

By 

Piano lover Bob (Houston, TX USA) - See all my reviews

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

First of all, I think Renee Fleming's voice is one of the great wonders in the world of operatic voices. My first reaction to this recording was displeasure. I could not figure out what was upsetting me. Then I realized it was the sound of her voice and its lack of balance with the orchestra. Her sound is almost too 'bright', and does not blend with the orchestra. I do not know the German operatic literature like some of the other interesting reviewers, but I do know what I like in "The Last Four Songs". I still prefer the Kiri Te Kanawa recording - where her pianissimi just melt into the orchestra. I don't know if this is an engineering problem or what - it sounds like the mike is too close to her - but good sound techs should be able to adjust it.

23 of 27 people found the following review helpful:

5.0 out of 5 stars An interpretation for today by a voice in prime condition, September 16, 2008

By 

Ralph Moore "Ralph operaphile" (Bishop's Stortford, UK) - See all my reviews
(TOP 500 REVIEWER)   

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

Many people will be surprised by the negativity of the comments by bert1761, the first and previous reviewer of this disc. First, let me say that I deplore the practice of some Amazon readers who give another reviewer a negative vote simply because they do not agree with the opinion expressed. I think "bert" writes honestly, more in sorrow than in anger, and that his is a thoughtful, intelligent, sincerely held opinion that deserves careful consideration. I know what he means by the overt expressiveness of Fleming's interpretation but I do not agree that it is obtrusive or excessive. The voice is in wonderful condition and she is able to sustain the line with apparently effortless ease - except when she clearly chooses to disrupt it deliberately for emotive effect. The lower register is rich and characterful - you can hear its development just from the resonance of Renee's speaking voice in the publicity interviews on this website - and the top soars as creamily and amply as ever; I hear no strain anywhere. Her German is of course impeccable and her breath control a thing of wonder. I, too, am a great fan of Janowitz's and Te Kanawa's (earlier version with Davis) more restrained, classical interpretations, but Fleming's "Im Abendrot", for example, still works its magic for me. She is perhaps delivering here on record more of what you might hear in a live performance (indeed, I believe these are live takes - although you'd never know), when your communicative gestures can be more emphatic than in a recording - but slightly idiosyncratic instances of vocal colouring and verbal inflection can, on repeated listenings, become a little quirky and irritating. Nonetheless, this is an immediate, heartfelt interpretation of these inexhaustibly moving songs and very much a performance for the modern listener who needs and expects more individuality to distinguish one version from another. Furthermore, the recorded sound is technically marvellous; I have never heard so much detail in the orchestration of these songs.

The subsequent Strauss arias and songs are a glorious addition to her discography; Fleming was born to sing this composer - and just as she would opt to sing Strauss over any other composer for the voice, I would choose Fleming to interpret him. I cannot hear any inadequacy in her lower register in the first extended "Ariadne" excerpt and I rank this disc with her earlier selection of Strauss "bon-bons" with Susan Graham and Barbara Bonney. The bonus arias on the second disc in the Deluxe Edition are testament to her versatility and supremacy in other composers, especially Tchaikovsky's Tatyana.

So I respectfully beg to differ from the previous reviewer's judgement - but would fiercely defend and welcome his right to express it, prompting, as it does, civilised debate.

16 of 20 people found the following review helpful:

4.0 out of 5 stars The Egyptian Renee, September 17, 2008

By 

Tony Consiglio (New York, NY) - See all my reviews

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

Contrary to all my expectations, Zweite Brautnacht is the strongest performance on this CD. Clearly, Fleming was inspired and excited about singing this music - astonishing even by Strauss's standards - and rose to meet its extraordinary challenges. Listen - your blood will race! Her recording of it rivals Leonie Rysanek's for beauty and intensity and easily surpasses Leontyne Price's and Deborah Voigt's. The rest of the CD may lack this perfection, but it certainly is not a return to Fleming's self-indulgent style. Just note the energetic tempos throughout - especially refreshing in September. Most of the distinctive expression here makes strong musical sense. I love what she does on zittert in Fruhling. I hope these performances of Ariadne's music and Verfuhrung show there is more to come - I'd like to hear Fruhlingsfeier and a complete Ariadne. (I tried to change my rating to five stars, but the website won't let me change it!)

For the full significance of Fleming's relationship to Strauss, don't miss her Strauss Heroines CD. I don't think anyone has ever equaled her achievement in the roles of the Marschallin, the Countess, and Arabella. Fleming's voice fits those roles (and Strauss's songs) the way Rysanek's voice fit the Empress in Die Frau ohne Schatten, the way Elisabeth Schwarzkopf's voice fit the songs of Hugo Wolf, the way Maria Callas's voice fit roles like Lady Macbeth, Anna Bolena, Armida, and others.