Richard Strauss: The Complete Songs 2

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Not just for Salome did Strauss demand several voices in one: here he ranges from the ditzy skitterings of the Ophelia Songs via the full-on operatic scena that is the Schwarzkopf favourite Blindenklage... — Gramophone Classical Music Guide, 2010 More…

Release Date: 30th Apr 2007
Catalogue No: CDA67588
Label: Hyperion
Series: Richard Strauss Complete Songs
Length: 66 minutes

BBC Music Magazine Awards

2008

Vocal Finalist

Usually despatched in 3 - 4 working days

Excerpt, Strauss, R: Acht Gedichte aus 'Letzte Blätter', Op. 10

Work length7:54

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Anne Schwanewilms (soprano), Roger Vignoles (piano)

III. Die Nacht

Track length3:12

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V. Geduld

Track length4:42

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Excerpt, Strauss, R: Sechs Lieder aus Lotusblättern, Op. 19

Work length3:18

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Anne Schwanewilms (soprano), Roger Vignoles (piano)

VI. Mein Herz ist stumm

Track length3:18

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Excerpt, Strauss, R: Schlichte Weisen, Op. 21

Work length5:37

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Anne Schwanewilms (soprano), Roger Vignoles (piano)

I. All' mein Gedanken, mein Herz und mein Sinn

Track length1:12

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II. Du meines Herzens Krönelein

Track length2:25

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III. Ach Lieb, ich muss nun scheiden

Track length2:00

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Excerpt, Strauss, R: Lieder (2), Op. 26

Work length2:51

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Anne Schwanewilms (soprano), Roger Vignoles (piano)

II. O wärst du mein!

Track length2:51

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Excerpt, Strauss, R: Vier Lieder Op. 27

Work length3:44

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Anne Schwanewilms (soprano), Roger Vignoles (piano)

I. Ruhe, meine Seele!

Track length3:44

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Strauss, R: Lieder (3), Op. 29

Work length8:38

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Anne Schwanewilms (soprano), Roger Vignoles (piano)

I. Traum durch die Dämmerung

Track length2:51

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II. Schlagende Herzen

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III. Nachtgang

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Excerpt, Strauss, R: Lieder (3), Op. 31

Work length4:55

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Anne Schwanewilms (soprano), Roger Vignoles (piano)

I. Blauer Sommer

Track length2:20

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III. Weisser Jasmin

Track length2:35

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Excerpt, Strauss, R: Lieder (4), Op. 36, TrV 186

Work length3:13

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Anne Schwanewilms (soprano), Roger Vignoles (piano)

I. Das Rosenband

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Excerpt, Strauss, R: Lieder (8), Op. 49, TrV 204

Work length12:53

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Anne Schwanewilms (soprano), Roger Vignoles (piano)

I. Waldseligkeit

Track length3:07

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II. In goldener Fülle

Track length2:28

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III. Wiegenliedchen

Track length2:10

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VII. Wer lieben will, muss leiden

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VIII. Ach, was Kummer, Qual und Schmerzen

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Excerpt, Strauss, R: Sechs Lieder, Op. 56

Work length5:08

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Anne Schwanewilms (soprano), Roger Vignoles (piano)

II. Blindenklage

Track length5:08

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Excerpt, Strauss, R: Lieder der Ophelia, Op. 67

Work length8:05

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Anne Schwanewilms (soprano), Roger Vignoles (piano)

Lied der Ophelia No 1. Wie erkenn' ich mein Treulieb?

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Lied der Ophelia No 2. Guten Morgen, 's ist Sankt Valentinstag

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Lied der Ophelia No 3. Sie trugen ihn auf der Bahre bloss

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About
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About

Strausss Drei Lieder der Ophelia have an inauspicious genesis. They were dashed off (together with three settings from Goethes Bucher des UnmutsThe Books of Bad Temper) in the throes of a legal battle with his publisher. Clearly Strauss hoped that three mad songs and three bad-tempered songs would represent a suitably poisoned chalice for his arch-enemy. But in the case of the three mad songs, they have proved highly effective in the concert hall, especially when performed by a great singing actress such as Anne Schwanewilms, whose dramatic and vocal gifts are highlighted in this, the second volume of the complete Strauss Lieder. The selection begins, like Volume One, in the familiar territory of Opus 10, and proceeds chronologically through to the Ophelia-Lieder, on the way taking in many songs that will be less well knownif they are known at all. Highlights among them should certainly be the impassioned and dramatic O warst du mein!, the delightful miniatures of Weier Jasmin and Wiegenliedchen, the two Alsatian folksongs, and not least the remarkable Blindenklage. Anne Schwanewilms is one of the greatest Strauss sopranos on the opera stage today, performing many major roles under Simon Rattle, Colin Davis, Andrew Davis, Semyon Bychkov and Mark Elder. This is her debut recording for Hyperion.

Reviews

2010

Not just for Salome did Strauss demand several voices in one: here he ranges from the ditzy skitterings of the Ophelia Songs via the full-on operatic scena that is the Schwarzkopf favourite Blindenklage to the wandering tonalities of Owärst du mein!, not to mention the tricky characterisation of Ach, was Kummer (with its repeated 'hm, hm') and the naive playfulness of SchlagendeHerzen.
It's hard to dispute Roger Vignoles's claim that Anne Schwanewilms is 'a great singing actress'. That's clear in every song, where both the overall tinta and the text have not just been scrupulously attended to in the head but are excitingly delivered with the heart. The occasional price to pay is in pitching (coming onto a note from above) and in vocal agility – this is a large voice and it can move through its gears quite slowly – but it's of little significance given the repertoire, the live nature of the takes for which Hyperion opted, and the sheer intensity of the singing.
Schwanewilms achieves the full compass of the testing items noted, finds an appropriately rich skein of tone for In goldener Fulle and manages real affection – and a degree of playfulness – in Wiegenliedchen. There's a real experience here, knowingly and profoundly communicated.
Vignoles is, as always, an equal and fully 'worked-in' team member. As well as being an impressive achievement in itself, this recital is a timely addition to a catalogue currently rather short of female competition in these songs.

August 2007

It's hard to dispute Roger Vignoles's claim that Anne Schwanewilms is "a great singing actress". That's clear in every song, where both the overall tinta and the text have not just been scrupulously attended to in the head but are excitingly delivered with the heart.

Not even Felicity Lott with Graham Johnson can match Anne Schwanewilms and Roger Vignoles here in the Drei Lieder der Ophelia … By any yardstick this is magnificent singing, with Schwanewilms always alert to the dramatic potential in so many of Strauss’s songs … Again you admire the effortless partnership between the two musicians, each, it seems, hanging on the other’s last word and always raising the musical bar. This second volume of the Complete Strauss songs suggests we are at the start of another remarkable Hyperion journey.

Richard Strauss: The Complete Songs 2

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