Strauss: Four Last Songs; Wagner: Prelude & Liebestod [IMPORT]

Richard [1] Strauss (Composer), Richard [Classical] Wagner (Composer), Giuseppe Sinopoli (Conductor), Dresden Staatskapelle (Orchestra), Cheryl Studer (Performer)

Product Details

• Performer: Cheryl Studer
• Orchestra: Dresden Staatskapelle
• Conductor: Giuseppe Sinopoli
• Composer: Richard [1] Strauss, Richard [Classical] Wagner
• Audio CD (May 25, 1994)
• SPARS Code: DDD
• Number of Discs: 1
• Format: Import
• Label: Archiv Prod Import
• ASIN: B000001GLT
• Average Customer Review: 5.0 out of 5 stars  See all reviews (5 customer reviews)
• Amazon.com Sales Rank: #153,329 in Music (See Bestsellers in Music)

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Track Listings

1. Four Last Songs: Fruhling

2. Four Last Songs: September

3. Four Last Songs: Beim Schlafengehen

4. Four Last Songs: Im Abendrot

5. Five Poems for Female Voice: Der Engel

6. Five Poems for Female Voice: Stehe still!

7. Five Poems for Female Voice: Im Treibhaus

8. Five Poems for Female Voice: Schmerzen

9. Five Poems for Female Voice: Traume

10. Tristan & Isolde: Vorspiel zum I. Aufzug

11. Tristan & Isolde: Isoldes Liebestod

Customer Reviews

Most Helpful Customer Reviews

24 of 25 people found the following review helpful:

5.0 out of 5 stars Why is this not more famous?, November 16, 2001

By	Mr. Matthew J. Williams "mattjw" (Sydney, NSW Australia) - See all my reviews (REAL NAME)

Strauss' Vier Letzte Lieder are works of such mastery the final word can never be said. I find myself collecting as many recordings as my budget will permit, exploring the endless insights and emotional experiences provided by the worlds best sopranos who, it seems, line up to have their say on this music.

This disc has recently become my ninth recording of the Strauss (and I have listened to seven others besides) and third recording of Wagner's Wessendonck Lieder. Studer need not fear - this disc stands glowingly against all comparisons.

The history of the Strauss lieder has been dominated by the still-unsurpassed interpretive insight of Elizabeth Schwarzkopf. Many an argument on the best recording of these songs has revolved around the question of whether her 1953 recording with Ackermann or her 1965 rendition with Szell should take that mantle! At the end of the day, one need not pit one against the other - both are sublime and carry their own authority. Among the Wagnerians (who recall the premiere of the songs by Flagstad), Norman's interpretation with Masur has quickly and rightfully become a classic. In another category again, the most famous exponent of the voice-as-instrument view is the Janowitz/Karajan; although I think this recording is surpassed in this style by the divine Arleen Auger/Previn disc on Telarc.

This Studer disc, however, bodes well against that competition, simply because, more than any of the alternatives, she combines all the strengths of those classics. Her interpretative insight and phrasing is almost as good as Schwarzkopf (only Lucia Popp otherwise comes close), her voice large, lush & Wagnerian like Norman's but honed down to a vocal line as lovely as Arleen Auger's, if not quite as pure. The Dresden Staatskapelle and Sinopoli are equal to the best alternatives, always sympathetic. At 20'52; this is the fastest rendition I own aside from the Schwarzkopf/Ackermann at about 19 & ½ minutes, but Sinopoli chooses balanced & natural tempos, giving the music ample room to breathe, without dragging it out unnecessarily (as I think Masur with Norman at 25 minutes (!) does, similarly the Karajan/Janowitz).

I hope I haven't exhausted all my superlatives on the Strauss, because I need some for the Wessendonck-Lieder! This is the best rendition of these songs I have ever heard - only Jane Eaglen provides me with as much enjoyment as Studer. Which lady's voice is more beautiful? Even Jessye Norman is left in the shade in these songs by Studer's caress of every phrase, careful vocal line, her light and shadow interplay with the Sinopoli and the Staatskapelle.

To make this disc even more extraordinary, Sinopoli takes the Staatskapelle through a transporting Tristan Prelude before Studer does a fine job of the Liebestod to bring the recital to a close. Why is this disc not more famous? Perhaps it has been lost in a catalogue of dozens of recent renditions of the Strauss, but all lovers of this repertoire (and this sublime soprano) should 'discover' this disc - they surely cannot be disappointed.

10 of 12 people found the following review helpful:

5.0 out of 5 stars Cheryl Studer's masterly interpretations..., August 9, 2002

By	Eric McCalla "reviewboy" (Denver, COLORADO) - See all my reviews (REAL NAME)

This recording of the 4 Last Songs, the Wesendock Lieder and the Isolde Liebestod are unmatched in their expressiveness, phrasing and intelligent interpretations. Studer's work with Sinopoli and the Dresden Staatskapelle is perfect in every respect. I have listened to respective performances by Gundula Janowitz and Jessye Norman, but find that Studer is for me the preferred "voice" in these classics for voice,piano and orchestra.

I have collected many of Cheryl Studer's recordings for many years, and cannot understand why they are not more available.
For example her Schubert recital album (with pianist Irwin Gage) and her "Cheryl Studer in Salzburg", both issued on the Deutsche Grammophon label, display her versatility in the lieder and operatic repertoires.

The most anticipated moment for me when listening to the Strauss is the opening of "Fruhling" with the orchestral prelude followed ever so elegantly by Studer's first notes. Beautiful and strangely calming every time I listen to it. I never tire of her eloquent readings in this material, and I know you too will enjoy this work for many years.

7 of 8 people found the following review helpful:

5.0 out of 5 stars A very deeply felt rendition!, July 31, 1999

By A Customer

I was introduced to 'Four Last Songs' through this redition of Cheryl Studer. I have come to love the depth and the poetry the content of the songs and have subsequently listened to several other recordings. To me, this is the one which seems to be the simplest and yet the most moving and deeply felt! I would strongly recommend it to anyone who wants an introduction to the music of Richard Strauss.