Strauss: Don Juan, Lieder, & Macbeth

Album review

After their opulent and virtuosic Elgar, opulent and virtuosic Strauss should come as no surprise from Mark Elder and the Hallé. But even measured against their Elgar, Elder, and the Hallé's Strauss is sumptuous and opulent. From the glittering brilliance of the opening Don Juan through the sensuality of the central seven orchestral lieder to the energetic exercises of the closing Macbeth, their performances are as lushly upholstered and as well-played as the best by continental orchestras. Every department of the orchestra excels from the slashing strings and characterful woodwinds in Don Juan to the brash brass and bludgeoning timpani of Macbeth, and under the skilled hands of music director Elder, the ensemble is supple but always together. Though Don Juan is early Strauss and Macbeth is very early Strauss, these performances make both pieces sound like great Strauss. But the best part of this disc may be the central seven orchestral lieder. Not only does the Hallé exceed itself in delivering deep-pile opulence, but singer Anne Schwanewilms delivers performances of surpassing beauty. With an ideal Strauss soprano -- high, strong, clear, and hot -- coupled to an astounding technique and complete control, Schwanewilms treats such favorites as Morgen! and Befreit to performances of aching sensuality. Listeners already familiar with Schwanewilms' superlative disc of Strauss' piano accompanied lieder need not hesitate, nor, indeed, need any lover of great singing. As with all the previous discs released on the Hallé's own label, the sound here is full, round, warm, and deep.
© TiVo