After giving choice recitals of Verdi and Wagner, Varady turned her attention to Strauss, and once again the results are for the most part rewarding.
The final scene of Salome, under the watchful eye of Varady's husband, Fischer-Dieskau, has the perfection of pitch and phrase one expects of this singer, as well as an expected acuity for the meaning of the text. Perhaps, away from the theatre in a part she never undertook on stage, the absolute conviction of such great interpreters as Cebotari, Welitsch and Rysanek is absent, but not by much.
The two almost consecutive solos of Ariadne benefit from shapely, poised singing, ever obedient to the score, although occasionally one misses the creamier tones that Lisa della Casa (DG) and Gundula Janowitz (DG video, and EMI) brought to the part. As Danae, Varady seems a shade tentative and vocally out of sorts. There need be no reservations about the final scene of Capriccio, in which she catches ideally Countess Madeleine's emotional perplexity as she tries (unsuccessfully) to choose between her poet and musician admirers.
Both her identification with the role and her execution of Strauss's operatic farewell to his beloved soprano voice are near-ideal. Fischer- Dieskau, endearingly, sings the short part of the Haushofmeister. However, his conducting, although sensibly paced, sometimes errs on the side of caution. As a whole, this CD nicely complements Fleming's Strauss concert on Decca, the two discs offering a compendium of the composer's writing for the soprano voice he loved so much.

this wide-ranging collection of excerpts contains some of the most magnificent Strauss singing in years. The wonder is that any soprano can range so wide, while producing the most beautiful,full and even stream of sound