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Jessye Norman sings Strauss: Five Songs & Salome

Jessye Norman (soprano), London Philharmonic Orchestra, Klaus Tennstedt

Jessye Norman sings Strauss: Five Songs & Salome

Awards:

Norman adds lustre to the already burnished orchestral playing in five songs, familiar from her studio version with Masur. Interpretatively there’s not much to choose between them, but she’s...

Jessye Norman sings Strauss: Five Songs & Salome

Jessye Norman (soprano), London Philharmonic Orchestra, Klaus Tennstedt

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Awards:

Norman adds lustre to the already burnished orchestral playing in five songs, familiar from her studio version with Masur. Interpretatively there’s not much to choose between them, but she’s...

About

Extraordinary soprano Jessye Norman is the star at the heart of this live performance from the London Philharmonic Orchestra archives, recorded in 1986 under the baton of Principal Conductor Klaus Tennstedt.

Norman brings her warmth to this tender and personal collection of songs by Richard Strauss, while the blistering final scene from Salome shows her at her most powerful and dazzling. Strauss’s suite, comprised of incidental music written for Molière’s Le Bourgeois Gentilhomme, brings to life the world of the foolish Monsieur Jourdain, and his desperate attempts to join the aristocracy.

Contents and tracklist

I. Overture
Track length4:03
II. Minuet
Track length1:31
III. The Fencing Master
Track length1:42
IV. Entry and Dance of the Tailors
Track length5:21
V. Lully's Minuet
Track length2:07
VI. Courante
Track length2:50
VII. Entry of Cléonte
Track length4:09
VIII. Prelude to Act II
Track length2:57
IX. The Dinner
Track length10:09
Ah! Du wolltest mich nicht deinen Mund küssen lassen
Track length5:03
Nun wohl! Ich lebe noch
Track length6:28
Ah! Ich habe deinen Mund geküsst, Jochanaan
Track length4:45

Awards and reviews

  • Gramophone Magazine
    April 2022
    Reissue/Archive Issue of the Month

June 2022

Norman adds lustre to the already burnished orchestral playing in five songs, familiar from her studio version with Masur. Interpretatively there’s not much to choose between them, but she’s more dramatic in characterising the insanity in the final scene from Salomé than in her complete recording.

April 2022

It’s the songs and, especially, the Salome that make this recording an essential listen, and a compelling reminder of a great singer at her dramatic best.
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