A long break. In the fall of 2018, Renée Fleming sang for Broadway musicals under the BBC Concert Orchestra led by Rob Fisher including the likes of Jerome Kern, Richard Rogers, Andrew Lloyd Webber, Stephen Sondheim, and some lesser-known names. A little unexpected yet welcome, with this new work, the American soprano returns to a more traditional repertoire. To be precise, she puts forward a very beautiful selection of Brahms’ Lieder, the entirety of Schumann’s Fraueliebe und -Leben Op. 42, and finally Mahler’s Rückert-Lieder in an orchestral interpretation led by Christian Thielemann with the Münchner Philharmoniker. Today, Renée Fleming’s tone is perfectly crepuscular, autumnal and suitable for these Lieders filled with melancholy. Harmut Höll’s accompaniments are beautiful (especially in Brahms), and the direction of Thielemann is often poetic

In these love songs in waltz style for chorus or solo voices accompanied by piano four hands, Brahms freely indulged his taste for Viennese folk music. The RIAS-Kammerchor instils a wonderful inner life in these musical landscapes, sometimes cheerful, sometimes melancholy, punctuated here by a selection from the Hungarian Dances – also eminently popular in their inspiration. © harmonia mundi

Neither Mozart nor Strauss is much known for songs, but their pairing here, nicely framing the golden age of the German lied, succeeds in showing the virtues of both as song composers. Soprano Sabine Devieilhe has often taken up Mozart's music. She is new to Strauss, but she catches his Classical, or neo-Classical, side in the selections on this album, wisely avoiding heavier material. The elegant little structures of Mozart's songs seem to bloom into Strauss' more elaborate treatments of similar structures, and when Strauss does open up his range, as in the wildly flowery Amor, Devieilhe, known for her interpretation of the Queen of the Night's "Der Hölle Rache" in Die Zauberflöte, K. 620, is ready. Mozart, in turn, is ennobled by this program, with small melodic details emerging nicely in the work of Devieilhe and the lively and timbrally varied accompanist Mathieu Pordoy. The whole project has the feel of small treasures known to performers who take pleasure in sharing them, an impression reinforced by the photos of the pair in the graphics and also by the acoustic environment of a small hall at the Paris Opera. A delightful song recital that rightly made classical best-seller charts in the spring of 2024.© James Manheim /TiVo

The latest album ‘Encounter’ by the German-Russian pianist is a particularly astonishing one, blending the diverse works of great composers such as Bach, Brahms and Morton Feldman. While the 2020 health crisis, due to the covid19 virus, has caused great anxiety among the general population it has also ignited the imagination of artists and musicians alike. Locked down in his apartment like so many us, the pianist Igor Levitt broadcasted a daily, live performance on his social media, even going as far as playing a 20 hour piece, Vexations by Erik Satie. ‘Encounter’, the product of Levitt’s self-isolation during lockdown, brings together an intelligent and pleasing array of composers. From Bach arranged by Busoni at the Palais de Mari, or the latest work from Morton Feldman for solo piano, to Brahms arranged by Reger, these are intimate connections between composers, as much as they are moments of solidarity at a time or great loneliness and isolation. Levitt’s poignant introspection and devotion to humanity shines throughout his album. © François Hudry/Qobuz

The veteran pianist Rudolf Buchbinder is known best for Haydn and Mozart, but he has the kind of record that has earned him the right to do pretty much what he wants in later life. Here, he plays transcriptions of Brahms songs by Max Reger, items that most listeners will not have heard. Of course, on the one hand, transcriptions were part and parcel of the 19th century scene (although perhaps less so in the song genre); on the other, 28 of these things, deprived of the texts, may sound like a lot, but Buchbinder's program is interesting on the whole. He takes his Brahms songs chronologically, and this yields various insights. There are simple pieces from throughout Brahms' lied output, but most of these songs are not simple, and without the contrast provided by the voice, the listener's attention is directed toward the place of the melody line in a web of polyphony. Consider a song as straightforward as the Wiegenlied, Op. 49, No. 4, the so-called "Brahms Lullaby." There turns out to be plenty going on below, and often above, the melody, holding the listener's interest in a whole new way. The chronological organization gives the listener a unique window into the growing density of Brahms' late style. There is probably no way to know whether Schoenberg and the other members of the Second Viennese School, great admirers of Brahms, heard the masterful treatment of register in these transcriptions, but they certainly might have. A fine offbeat find for Brahms lovers, and indeed those of Reger.© James Manheim /TiVo

One might react to this album with initial annoyance and ask whether it is really necessary to hear orchestrated versions of Schubert's supremely pianistic songs. It may come as a surprise, then, to find that most of these Lieder with Orchestra were arranged by great composers. They include Benjamin Britten, Jacques Offenbach, and Max Reger, who took on the job because, he said, he hated to hear a piano-accompanied song on an orchestral program. Perhaps the most surprising name to find is that of Anton Webern, but his arrangements are not the minimal, pointillistic things one might expect; he wrote these arrangements as a way of studying Schubert's music, and they are quite straightforward. Indeed, it is somewhat difficult to distinguish the arrangers simply by listening to the music; Schubert's melodic lines tend to suggest distinctive solutions. Perhaps Reger's are a bit more lush than the others, although his version of Erlkönig, D. 328, is one of the few numbers here that just doesn't work (there is no way to replicate the percussive quality of the accompaniment). As for the performances as such, Benjamin Appl is clearly an important rising baritone, and he has a wonderful natural quality in Schubert. An oddball release like this might seem an unusual choice for a singer in early career, but he contributes his own notes, and he seems to have undertaken the project out of genuine enthusiasm for the material. At the very least, he has brought some intriguing pieces out of the archives and given them highly listenable performances. The Munich Radio Orchestra, under the young Oscar Jockel, is suitably restrained and keeps out of Appl's way. This release made classical best-seller lists in the autumn of 2023.© James Manheim /TiVo

The gestation of this project lasted two years. Anna Prohaska and Julius Drake finally concentrated their research on the themes of Eve, Paradise and banishment. Some songs were obvious choices, such as Fauré’s Paradis, in which God appears to Eve and asks her to name each flower and animal, or Purcell’s Sleep, Adam, sleep with its references to Genesis. But Anna Prohaska also wished to illustrate the cliché of the woman who brought original sin into the world and her status as a tempter who leads man astray, as in Brahms’s Salamander, Wolf’s Die Bekehrte or Ravel’s Air du Feu. In Das Paradies und die Peri, Schumann conjures up the image of Syria’s rose-covered plains. Bernstein also transports us to the desert with Silhouette.. John Milton’s seventeenth-century masterpiece Paradise Lost was the inspiration for Charles Ives and Benjamin Britten, also featured in this very rich programme that constitutes an invitation to travel and reflection. © Alpha Classics

To say that Christian Thielemann's early March 2020 Gurre-Lieder at the Semperoper Dresden didn't take place a moment too soon is something of an understatement, when less than a fortnight later Europe's international-level live music making scene had been reduced to solo recitals self-filmed on mobile phones and posted onto social media. Equally fortuitously, it was recorded live, meaning we can now all listen to this ambitious project with its international line-up that would, had 2020 turned out differently, have received a second airing the following month at the Salzburg Easter Festival. Broad brushstrokes first, and in orchestral terms there's a wonderful transparency to the sound from the Staatskapelle Dresden bolstered by members of the Gustav Mahler Youth Orchestra. As for tone colour, think silvery luminosity from the upper strings and woodwind, balanced by warm, rounded richness from the brass and lower strings - it's both luxuriously warm and sharply defined, making for a heavenly Prelude and Zwischenspiel, and full-throttle drama for the conclusion of Part 2. As for the chorus, there's some thrilling singing from the MDR-Rundfunkchor and Staatsopernchor Dresden, and while “Seht die Sonne” would possibly have packed even more of a punch when heard in the hall (they are perhaps slightly further back in the sound than a studio recording might have given us), “Gegrüßt, o König, an Gurre-Seestrand!” is unequivocally edge-of-the-seat stuff. Thielemann's overall architecture is also eminently satisfying, including a notably seamless-feeling transition over the stylistic shift between parts two and three. On to the soloists, and Camilla Nylund's Tove is warm and supple, losing not an iota of its mellow roundedness as she soars up high, with the climax of her “Du sendest mir einen Liebesblick” truly tingle-inducing. Dark-toned Stephen Gould as Waldemar is ardent in love, and especially compelling in despair, always in control of his own high-register leaps. Christa Mayer's Woodtaube is rich-voiced and passionate, and Kwangchul Youn's Bauer ringing and energetic. Wolfgang Ablinger-Sperrhacke makes for a colourful and enjoyably semi- raucous Klaus-Narr; and while Franz Grundheber may no longer be in his baritone prime, his voice is deliciously expressive and multicoloured in his sprechstimme Speaker role, and with a flexibility and strength thoroughly belying his eighty-plus years. If this cast ever gets reunited post-Covid then you should beg, borrow or steal a ticket. In the meantime, crank up the volume on this, and revel in it. © Charlotte Gardner/Qobuz

This eleven hour box set marks the 90th birthday of German mezzo-soprano Christa Ludwig, whose phenomenal career, which ran from 1950 to 1990, still inspires admiration in her colleagues (of course) and a growing number of music fans. She has collaborated with the greatest musicians of her age, most notably Herbert von Karajan, Leonard Bernstein and Otto Klemperer. She also shone in the genre of the Lied, with a brilliance comparable to Elisabeth Schwarzkopf's or Dietrich Fischer-Dieskau's – and of course she regularly performed with both – and these recordings with Gerald Moore and Geoffrey Parsons bear witness to her talents. A note on the brand-new releases that form part of this edition: some performances are published here for the first time*: these are Lieder with orchestra by Alban Berg (tracks 144 to 146), Max Reger (track 137) and Richard Wagner (track 124) as well as Lieder with piano by Hugo Wolf (track 14), Franz Schubert (tracks 15 and 16, 62 to 66) and Stille Nacht (track 89), which were left aside when they were first recorded, either because of the limits of the 33rpm format, or just because of a decision by the artistic director. This collection also sees some pieces re-published for the first time since their release on LP, such as the piece by Gluck (track 88), several of Brahms' Lieder (tracks 15 to 19, tracks 104 and 107). The recital of Brahms which Christa Ludwig would record alongside Walter Berry appears here in its entirety for the first time since it was first released (from track 67 to track 89, see above). © Qobuz