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Opera - Verschenen op 3 april 2020 | Orfeo

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Klassiek - Verschenen op 31 januari 2020 | Warner Classics

Hi-Res Booklet
The late Mariss Jansons would never live to see the release of this album from Diana Damrau, in which he leads his Bavarian Radio Symphony Orchestra for a recital of Richard Strauss’ Vier letze Lieder. Recorded in the Herkulessaal (Hercules hall) of the Munich Residence and Hohenems in 2019, the album follows Damrau’s Lieder recital from 2011 which was also dedicated to the composer, under the direction of Christian Thielemann. Morgen was already re-recorded here, but the German soprano sang the Vier letzte Lieder once more under the direction of Mariss Jansons on November 8, 2019 during her very last concert on tour with the famous Bavarian ensemble at Carnegie Hall in New York, just twenty days before the composer passed away. Her gentle voice is much like that of her fellow performer Gundula Janowitz, bringing a radiant glow to this veritable farewell which was composed by an eighty-four-year-old Strauss as he contemplated life, gazing upon a Germany devastated by war. In addition to these orchestral pieces, the programme is devoted to a selection of some twenty Lieder from all eras, including Richard Strauss’ last composition, Malven (“Mauves”) which he composed in 1948 for singer Maria Jeritza, who jealously kept it to herself until it was finally released in 1985. Helmut Deutsch provides the ideal accompaniment on piano, listening, supporting and coordinating his playing with the German singer’s every word. © François Hudry/Qobuz
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Klassiek - Verschenen op 6 september 2019 | Decca Music Group Ltd.

Hi-Res Onderscheidingen Diapason d'or / Arte
Leading the Lucerne Festival for two summers running, conductor Richardo Chailly has honoured composers that the musicians had never yet recorded: Igor Stravinsky in 2018, and Richard Strauss in 2019. The sumptuousness of the orchestration of the latter here affords a glittering clarity, just as much in the concertante parts as in the tutti. The writing conjures a Straussian atmosphere: a marvellously apt terrain for the Lucerne orchestra. In Zarathustra, the strings, in particular the double-basses, rumble away as under one bow, with gobsmacking precision in Von der großen Sehnsucht ("Of the Great Yearning") and Genesende ("the Convalescent"). Richard Strauss deploys a romantic counterpoint in his writing – in particular in Von den Hinterweltlern ("Of the Backworldsmen") – and the strings of Lucerne brilliantly bring his limitless lyricism to life. The following works, (Tod und Verklärung, Till Eulenspiegel and finally The Dance of the Seven Veils) bring to mind other epithets that we might apply to this perfect recording: epic majesty, burlesque humour, serpentine voluptuousness: all ingredients of Strauss's symphonic poems.The sound quality does justice to the beauty of the orchestra, and the mix doesn't leave anyone out: every counterpoint is defined, every pizzicato twangs appropriately and we hear even the softest touch of the timbal. Demanding in their extremity (in both nuance and difficulty), these scores make a perfect fit for the Lucerne orchestra, a meeting of the greatest soloists of the international stage, brought together by the festival. The only drawback comes from precisely this concentration of quality. While we are gripped by Salome's Dance of the Seven Veils, we are perhaps more impressed than moved by a piece that has been stripped of some of its finest orchestral ornamentation. © Elsa Siffert/Qobuz
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Liederen (Duitsland) - Verschenen op 31 mei 2019 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Qobuzism
Born in a small Norwegian village in 1987 (and is thus inevitably compared to her long-time compatriot Kirsten Flagstad), soprano Lise Davidsen was almost built to embody Wagnerian and Straussian heroines. For her first record under the label Decca, with whom she has signed an exclusive contract, she has chosen to present several facets of femininity in the vocal stylings of Elisabeth (Tannhäuser), Ariane (Ariane à Naxos) and… Pauline. Pauline being Richard Strauss’ beloved wife to whom he dedicated many Lieder from his opus 27 - the 1894 cycle offered to his wife as a wedding gift - until the last Vier letzte Lieder in 1948.Under the supple baton of Esa-Pekka Salonen, the Philharmonic Orchestra embraces the brassy voice of the Norwegian soprano with finesse and elegance. As you will see, this record, with its carefully devised programme, oscillates between youth and old age, in the presence of ghosts and death. You may wonder how one can express mortality at just 30 years old with such a powerful timbre, radiant health and a whole life ahead of you. The answer lies in Lise Davidsen’s voice, which upsurges as if it were a promise of immortality, the music of the last Strauss piece returning one last time to its past, to a Europe in ruins.Discovered in 1984, after the death of the singer and dedicatee Maria Jeritza, Malven (“The Mallows") is Richard Strauss’ true “last song”. Lighter in tone than the Vier letzte Lieder to which it might have belonged, it is presented here in an orchestration by Wolfgang Rihm. © François Hudry/Qobuz
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Klassiek - Verschenen op 17 januari 2020 | Lawo Classics

Hi-Res Booklet
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Klassiek - Verschenen op 13 september 2019 | Lawo Classics

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Klassiek - Verschenen op 15 april 2019 | Lawo Classics

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 7 februari 2020 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
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Opera - Verschenen op 20 oktober 2017 | Warner Classics

Hi-Res Booklet Onderscheidingen Choc de Classica
« This magnificent 1956 recording, conducted with genius by Karajan and with a cast such as dreams are made of, has an unparalleled status and is unlikely to be challenged for many a year. » Gramophone« This remastering comes from the original analogue tapes and has been transferred at high resolution digital quality to capture the very best sound from the tapes. In consultation with the original engineer Chris Parker, we have slightly adjusted the balance of the Trio (in Act 3) to reflect the quality of sound that was desired but not achieved at the time of recording. This recording was originally made as a mono recording by Douglas Larter, with a stereo test version engineered by Chris Parker. It is this stereo test version which has been used for this remastering. Despite the early experimental nature of this new ‘stereo’ technology, this recording is captured in astonishingly vivid sound and is a testament to the experience, understanding and skill of both the musicians and engineers of the time.» Simon Gibson, Remastering Engineer at Abbey Road Studios 
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Klassiek - Verschenen op 1 januari 1995 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 7 februari 2020 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 6 januari 2017 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 31 januari 2020 | Sony Music Labels Inc.

Hi-Res Booklet
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Klassiek - Verschenen op 2 juni 2015 | PentaTone

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica - 5 Sterne Fono Forum Klassik
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Opera - Verschenen op 1 juni 2016 | La discothèque idéale de Diapason

Booklet Onderscheidingen Diapason d'or
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Klassiek - Verschenen op 1 januari 2014 | UNIVERSAL MUSIC LLC

Hi-Res Booklet Onderscheidingen 5 de Diapason - Exceptional Sound Recording - Hi-Res Audio
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Klassiek - Verschenen op 20 juli 2018 | PentaTone

Hi-Res Booklet
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Klassiek - Verschenen op 1 juli 2009 | PentaTone

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Liederen (Duitsland) - Verschenen op 10 december 1983 | Philips

Onderscheidingen The Qobuz Ideal Discography
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Symfonische muziek - Verschenen op 24 april 2020 | Alpha

Hi-Res Booklet
Is the imitation of rolling thunder, howling winds and bleating sheep a form of musical composition worthy of the name? Can we take seriously a composer who boasts of being able to ‘set a restaurant menu to music, if need be’? These were the kinds of questions that Richard Strauss, one of the most virtuosic composers of the so-called ‘programme music’, had to ask himself. His answer: ‘I am a musician from head to toe; for me, all “programmes” are merely incentives to invent new forms, nothing else.’ The NDR Orchestra, conducted by Krzysztof Urbański, has chosen to devote its sixth Alpha Classics recording to three of Richard Strauss’s most famous symphonic poems: Also sprach Zarathustra Op. 30, Till Eulenspiegels lustige Streiche Op. 28 and Don Juan Op. 20. © Alpha Classics

Componist

Richard Strauss in het magazine
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