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  • Strauss: Four Last Songs / Arabella / Ariadne auf Naxos / Capriccio
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Strauss: Four Last Songs / Arabella / Ariadne auf Naxos / Capriccio Original recording remastered


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Audio CD, Original recording remastered, October 10, 2000
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Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song TitleArtist Time Price
listen  1. R. Strauss: Vier letzte Lieder - 3. Beim SchlafengehenLisa Della Casa 5:16$0.99  Buy MP3 
listen  2. R. Strauss: Vier letzte Lieder - 2. SeptemberLisa Della Casa 4:03$0.99  Buy MP3 
listen  3. R. Strauss: Vier letzte Lieder - 1. FrühlingLisa Della Casa 3:19$0.99  Buy MP3 
listen  4. R. Strauss: Vier letzte Lieder - 4. Im AbendrotLisa Della Casa 6:00$0.99  Buy MP3 
listen  5. R. Strauss: Arabella, Lyrische Komödie in drei Aufzügen - Act 1 - "Er ist der Richtige nicht für mich!"Lisa Della Casa 7:05$0.99  Buy MP3 
listen  6. R. Strauss: Arabella, Lyrische Komödie in drei Aufzügen - Act 2 - "Der Richtige - so hab ich still zu mir gesagt"Paul Schöffler 6:57$0.99  Buy MP3 
listen  7. R. Strauss: Arabella, Lyrische Komödie in drei Aufzügen - Act 3 - "Das war sehr gut, Mandryka"Lisa Della Casa 8:15Album Only
listen  8. R. Strauss: Ariadne auf Naxos, Op.60 - Opera - "Es gibt ein Reich"Lisa Della Casa 5:41$0.99  Buy MP3 
listen  9. R. Strauss: Capriccio, Op.85 - Letzte Szene - Andante con moto (Mondscheinmusik)Lisa Della Casa 3:43$0.99  Buy MP3 
listen10. R. Strauss: Capriccio, Op.85 - Letzte Szene - Wo ist mein Bruder?Lisa Della Casa 1:43$0.99  Buy MP3 
listen11. R. Strauss: Morgen Mittag um elf!Lisa Della Casa 1:18$0.99  Buy MP3 
listen12. R. Strauss: Capriccio, Op.85 - 4. Szene - Kein andres, das mir so im Herzen loht (Olivier)Lisa Della Casa 3:59$0.99  Buy MP3 
listen13. R. Strauss: Capriccio, Op.85 - Ihre Liebe schlägt mir entgegenLisa Della Casa 9:36Album Only

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Frequently Bought Together

Strauss: Four Last Songs / Arabella / Ariadne auf Naxos / Capriccio + Strauss: Arabella
Price for both: $36.82

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  • Strauss: Arabella $20.55


Product Details

  • Performer: Lisa della Casa, Alfred Poell, Franz Bierbach, Hilde Gueden, Paul Schoeffler
  • Orchestra: Vienna Philharmonic Orchestra
  • Conductor: Heinrich Hollreiser, Karl Böhm, Rudolf Moralt
  • Composer: Richard Strauss
  • Audio CD (October 10, 2000)
  • SPARS Code: ADD
  • Number of Discs: 1
  • Format: Original recording remastered
  • Label: Decca
  • ASIN: B00004XQ8H
  • Average Customer Review: 4.9 out of 5 stars  See all reviews (16 customer reviews)
  • Amazon Best Sellers Rank: #60,959 in Music (See Top 100 in Music)

Customer Reviews

4.9 out of 5 stars
5 star
14
4 star
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Despite the mono sound, the "Moonlight" music has rarely sounded more magical.
Ralph Moore
Perhaps a little less profound in interpretation but the beauty of the voice is sheer joy.
operalover
Lisa Della Casa is a beautiful woman and a great artist: a diamond in the crown.
DAVID F MANCHESTER

Most Helpful Customer Reviews

39 of 39 people found the following review helpful By "opernnarr" on November 26, 2000
Format: Audio CD
As one record reviewer put it: "It was a voice unlike any other." Indeed, for sheer vocal beauty no one matches Lisa della Casa, and a quick sampling of this disc's contents will demonstrate why Strauss himself identified her as his ideal Arabella. The voice's glory was its upper register: full, free, intensely colored, and exciting. But she had other gifts: superlative breath control (amazing in this music), naturalness of utterance, and perfect diction. Her tone quality suggests restrained emotion, and although she is Swiss, I can think of no singer who evokes Viennese elegance better. I like lots of singers past and present, and I admire many, but I worship this voice. If the house were on fire, I'd grab this CD before jumping out the window.
Although the Boehm-led 'Four Last Songs' are a classic performance, I find they are my least favorite part of this recording. Boehm's tempos are a little fast and della Casa, for all her beauty, sounds disengaged. But from then on she is matchless. The 'Arabella' duets are stunning, both for the singer's high level of vocal accomplishment and her ability to convey the character's changing moods. She sounds so genuine and unaffected and the voice is so gorgeous that I find myself drawn into the drama as with no other singer. She has good partners in Gueden and Schoeffler, but Poell brays relentlessly. Her rendition of the passage beginning "Und du wirst mein Gebieter sein" is my number one tear-inducing moment in all of recorded history. The 'Ariadne' aria is nicely sung, although she was even better a few years later for EMI/Testament. The 'Capriccio' final scene is ravishing from beginning to end, with della Casa's voice soaring gloriously above the Vienna Philharmonic's lush carpet of sound.
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24 of 25 people found the following review helpful By p.j.campbell@livjm.ac.uk on October 10, 2000
Format: Audio CD
Lisa della Casa's recording of the Four Last Songs has been a part of my life for the past twenty years; and in my book it beats all the competition, past, present and (probably) future. It may not be your perfect rendition, because one's response to a voice is such a personal, unpredictable thing; but it is certainly mine. Della Casa's shimmering, silvery soprano soars radiantly above the lush, romantic orchestration; and even after many, many times of listening to this disc, I still find something new in it. I never get tired of it, and it never fails to move me. The excerpts from Arabella are also excellent, although not as well recorded as the Four Last Songs. However, they reward repeated listening, and they preserve della Casa's celebrated interpretation of Arabella (her most famous stage role). Even if you have heard other interpreters of the Four Last Songs, and have your own favourite, please give this a try. For sheer tonal beauty, it cannot be beaten.
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14 of 16 people found the following review helpful By Canzone on October 20, 2004
Format: Audio CD
From the day it was released all those years ago, this remains one of the most beautiful (Strauss) recordings ever made. It's been available in different versions (I have the earlier release that includes the Wesendonck Lieder with Flagstaf), but it's worth it to get this one for the opera arias. I'm not a big fan of these operas, but it's unlikely you'll ever hear them sung with more beauty or understanding. You may have another favorite recording of the Songs, but you owe it to yourself to listen to what Della Casa does here. And not to slight Bohm either; he obviously knew this music inside out, and is miles ahead of most of his competition.
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3 of 3 people found the following review helpful By J.J. de Man on October 24, 2009
Format: Audio CD
The musical archeologists of the Decca Legends series dig deep in the mud and not seldom have brought up real gems. A brilliant recording, exemplary performance this. Apart from that, the cd offers us a glimpse in a primordial world of the compostion in question: Four Last Songs. How would it feel to listen to Beethoven's Ninth Symphony only four years after completion? Or Wagner's Ring? Here is, the music paper hardly dry, a view on Strauss' swansong by a renowned Strauss interpreter, a divine soprano and an orchestra which was (and is) perhaps the best in the world.

Not hindered by any tradition of interpretation Della Casa and Böhm have formed the standard by which all my favorites must be gauged. Over 55 years old but as fresh as if the songs were recorded yesterday. You can write pages about the spotless textual interpretation, as well as about the suprisingly up-tempo playing (Im Abendrot clocks under 6 minutes!), the original playing order of the songs (3-2-1-4) and so on. And what about Della Casa's excitingly sultry voice with uniquely distinguishing vibrato?

What I like most about this interpretation is its insistence not to trip into the gaping hole of false sentiment this music appears to embody - a trap in which other famous sopranos (Jessye Norman!) so ostensibly plunge. For this is no music for funerals: this is music accepting death as a transition to another phase - not an end but a beginning, no sadness but comfort. Exactly as Strauss' own philosophy comprised - see for instance Death and Transfiguration, music that tends to rise up instead of move downwards into the earth.

Della Casa's rendition, in the Lieder as well as in the operatic fragments, certainly is not faultless. In Arabella now and then an awkward moment appears.
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