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Strauss: Vier letzte Lieder & Lieder
Diana Damrau (soprano), Helmut Deutsch (piano), Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons
Awards:
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Opus Klassik Awards, 2020, Nominee - Female Singer of the Year
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Opus Klassik Awards, 2020, Winner - Solo Vocal Recital (Lieder)
The German soprano’s virtues are well in evidence. There’s no doubting the integrity and intelligence of her performances, and there’s much to admire in her tidy, restrained way with the Four...
Strauss: Vier letzte Lieder & Lieder
Diana Damrau (soprano), Helmut Deutsch (piano), Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons
Purchase product
Awards:
-
Opus Klassik Awards, 2020, Nominee - Female Singer of the Year
-
Opus Klassik Awards, 2020, Winner - Solo Vocal Recital (Lieder)
The German soprano’s virtues are well in evidence. There’s no doubting the integrity and intelligence of her performances, and there’s much to admire in her tidy, restrained way with the Four...
About
“For me, Strauss is one of the greatest composers,” Diana Damrau has said. “The way he handles the soprano voice is a joy. And to be able to sing his music with my voice feels like coming home.” The centrepiece of this album of Strauss songs is the sublime Vier letzte Lieder, in which Damrau – born and trained in Bavaria – joins forces with the Bavarian Radio Symphony Orchestra and its long-standing Chief Conductor Mariss Jansons, in what was to become his final recording. Her partner in a tempting and diverse selection of songs with piano is Helmut Deutsch. “Not only is Strauss’s music gorgeous,” says Damrau, “there’s the way he combines words and notes – and the psychology.”
Contents and tracklist
- Diana Damrau (soprano), Anton Barakhovsky (violin)
- Symphonie-Orchester des Bayerischen Rundfunks
- Mariss Jansons
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Awards and reviews
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Opus Klassik Awards2020Nominee - Female Singer of the Year
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Opus Klassik Awards2020Winner - Solo Vocal Recital (Lieder)
March 2020
The German soprano’s virtues are well in evidence. There’s no doubting the integrity and intelligence of her performances, and there’s much to admire in her tidy, restrained way with the Four Last Songs – for which she receives sensitive, detailed accompaniment. There are things to enjoy in the other songs, too, not least in a suitably brittle, edgy account of the Three Ophelia Songs, with Helmut Deutsch’s piano-playing, here as throughout, exemplary.
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