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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 26 maart 2021 | Decca Music Group Ltd.

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For her second recital, soprano Lise Davidsen offers a more aesthetically varied repertoire than her first, conducted by Esa-Pekka Salonen. In this previous outing, she tackled some Wagner arias (Tannhäuser) and pages by Richard Strauss, including the Vier letzte Lieder – Qobuzissime. Here she remains in the midst of the nineteenth century, covering Beethoven's dramatic Ah Perfido! as well as Wagner's Wesendonck Lieder, and including some of the hits of Italian Romantic opera, such as Pace, pace, mio Dio from La Forza del destino or Ave Maria, piena di grazia from Otello (Verdi). Cherubini's extract from Medea is included almost for its curiosity value! Throughout this recital, which is perhaps more satisfying than the first, a very attentive Sir Mark Elder weaves an orchestral backdrop of great finesse, which allow his soprano (Wagner) to shine. Yet one feels that he needs the stage, and a live audience, to be able to work all of his magic, a bit like Leonie Rysanek once did. © Pierre-Yves Lascar/Qobuz
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Symfonische muziek - Verschenen op 2 juli 2021 | Chandos

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Following their acclaimed recordings of Schoenberg with Sara Jakubiak and Britten’s Peter Grimes with Stuart Skelton, Edward Gardner and the Bergen Philharmonic turn their attention to the music of Sibelius. Written in 1913 for the diva Aino Ackté, the tone poem Luonnotar draws on text from the Finnish national epic poem, the Kalevala. Its virtuosic demands are ably met here by award-wining soprano Lise Davidsen, who also feature in the Suite from Pelléas and Mélisande, music re-worked by Sibelius from his incidental music written for the first performances of Maeterlinck’s play in Helsinki, in 1905, in Swedish. The tone poem Tapiola, from 1926, is Sibelius’ last great masterpiece and evokes the forests of his native Finland. The programme is completed by a pair of much earlier works, Rakastava and Vårsång (Spring Song). © Chandos
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Klassiek - Verschenen op 31 mei 2019 | Decca Music Group Ltd.

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Klassiek - Verschenen op 26 maart 2021 | Decca Music Group Ltd.

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Klassiek - Verschenen op 10 juni 2016 | Dacapo

Hi-Res Booklet