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Richard Strauss : Les quatre derniers Lieder - 12 Lieder avec orchestre CD, Import

5 étoiles sur 5 1 commentaire client

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Page Artiste The London Symphony Orchestra


Détails sur le produit

  • Orchestre: Berlin Radio Symphony Orchestra, London Symphony Orchestra, Robert Heger
  • Chef d'orchestre: George Szell
  • Compositeur: Richard Strauss
  • CD (12 janvier 1999)
  • Nombre de disques: 1
  • Format : CD, Import
  • Label: Mis
  • ASIN : B00000GCAE
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 471.588 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Four Last Songs, Op. Posth.: Fruhling
  2. Four Last Songs, Op. Posth.: September
  3. Four Last Songs, Op. Posth.: Beim Schlafengehem
  4. Four Last Songs, Op. Posth.: Im Abendrot
  5. 12 Songs: Mutterandelei, Op. 43, No. 2
  6. 12 Songs: Waldseligkeit, Op. 49, No. 1
  7. 12 Songs: Zueignung, Op. 10, No. 1
  8. 12 Songs: Freundliche Vision, Op. 48, No. 1
  9. 12 Songs: Die Heiligen Drei Konige, Op. 56, No. 6
  10. 12 Songs: Rube, Meine Seele, Op. 27, No. 1
  11. 12 Songs: Meinem Kinde, Op. 37, No. 3
  12. 12 Songs: Wiegenlied, Op. 41, No. 1
  13. 12 Songs: Morgen, Op. 27, No. 4
  14. 12 Songs: Das Bachlein, Op. 88, No. 1
  15. 12 Songs: Die Rosenbande, Op. 36, No. 1
  16. 12 Songs: Winterweihe, Op. 48, No. 4

Descriptions du produit

SCHWARZKOPF ELISABETH

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Par Savinien COMMENTATEUR DU HALL D'HONNEURTOP 50 COMMENTATEURS le 20 mai 2012
Format: CD
Ce disque est un sommet absolu d'art lyrique et orchestral.
Il est à nouveau disponible, notamment dans la collection Masters (voir R. Strauss : 4 Derniers Lieder pour un commentaire plus complet).
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Amazon.com: HASH(0x938d766c) étoiles sur 5 36 commentaires
47 internautes sur 49 ont trouvé ce commentaire utile 
HASH(0x93c20cb4) étoiles sur 5 Schwarzkopf - the art of the Lied 26 mars 2000
Par Herman D Soenario - Publié sur Amazon.com
Format: CD
I have owned this recording together with her first commercial recording of the Four Last Songs with Ackermann for many years. In order to fully appreciate the art of Schwarzkopf in Lieder and in particular the Four Last Songs, the listener must understand the full meaning of each of the German words and the way Strauss phrased it. We must remember that the words came first, then they were translated into music, as is the case in most of German Lieder. Like Fischer-Dieskau, Schwarzkopf clearly understands the importance of each of the words in relation to the verses. It is sad for the listener that ES and DFD are so severely critized regarding their emphasis on the text, and I believe this criticism comes mainly from English speaking listeners. I have 8 different interpretations on CD of the Four Last Songs, and am still convinced that ES in this recording is absolutely spot on. An absolute must! It is absolutely Glorious! Herman Soenario, Lecturer Musicology at James Cook University, Cairns, Queensland Australia.
39 internautes sur 43 ont trouvé ce commentaire utile 
HASH(0x93e82174) étoiles sur 5 Poetic and autumnal 29 octobre 2000
Par cdsullivan@massed.net - Publié sur Amazon.com
Format: CD
This recording of Strauss's Four Last Songs is superb - for the most part. It should be said that this will not please everyone; in a way, it does not please me. But there is no truly perfect recording of these songs, and this is unquestionably one of the best. Elisabeth Schwarzkopf was fifty when she made this recording in 1965, so her voice is not as beautiful as on, say, her 1951 Beethoven Nine with Furtwängler. HOWEVER: this is only noticable in two aspects of her singing: her lower register, which has grown somewhat harsh and brittle, and her breath control, probably the most serious disappointment in this set - some of Strauss's long, long, phrases (e.g. end of September) have to be reworded so she can fit in a breath. Also, her interpretation is controversial: I think that sometimes she focuses so much on the little details in each word that we actually lose the whole picture. I think, though, that this is more of a problem in the other songs on the disc, and this problem doesn't interfere with the Four Last Songs. So for the most part, this is an outstanding performance. She is slightly brittle at the start of "Frühling," but she quickly improves. In some of the soaring, radiant phrases towards the middle, we hear her real voice come through: silvery, luminescent and soft-toned. She characterizes "September" most movingly; she pays attention to word-coloring in a way other singers seem unable to do, which makes up for not having the breath control of a Janowitz or a Norman. "Beim Schlafengehen" is excellent, but again we note the lack of breath control. "Im Abendrot," though, is the crowning glory of this recording. She is in radiant voice, and brings out all the poignancy of this astounding song. This song alone is worth the price of the set. The twelve orchestral songs also on this disc are for the most part not up to this standard. Exceptions include a hushed "Waldseligkeit," a powerful "Zueignung" and a gorgeous "Morgen." George Szell's conducting is inspired throughout, as is the playing of the Berlin Radio Symphony Orchestra. The packaging is superb and the sound is excellent. But why put the Four Last Songs at the beginning of the disc? As the best songs Strauss ever wrote, shouldn't they be saved until the end of the disc? Many CD players, however, can re-order tracks, so this isn't too much of a problem. So of the three recordings of the Four Last Songs I have heard, here are my verdicts. Janowitz (Karajan/DG): heavenly, silvery singing, the most haunting recording. Occasionally, though, I feel her interpretation leaves stones unturned; her vibrato is also obtrusive at the top of her range; Karajan's accompinament is somewhat oily. Norman (Masur/Philips): the most gorgeous, unstrained singing, with astounding breath control. If only she and Masur hadn't decided to take "Im Abendrot" at a funereal pace! Schwarzkopf (Szell/EMI): not nearly as perfect vocally as the other two, but considerably better interpretatively, in addition to boasting the best conductor. So it all really depends on what you value most. If you want my advice, I suggest you buy all three! None of them is significantly "better" than the other, and their strengths and weaknesses complement each other. Pushed further, I would award the prize to Norman, for her gloriously rich, velvety singing. But you won't go wrong with Schwarzkopf.
22 internautes sur 24 ont trouvé ce commentaire utile 
HASH(0x93c8a9f0) étoiles sur 5 Heaven in your living room! ESSENTIAL DISC! 14 décembre 2001
Par Matthew J. Williams - Publié sur Amazon.com
Format: CD
This disc is surely one of the most heavenly, inspired recordings in the catalogue. And at mid-price!!
Most people adore Schwarzkopf, the light and shadow, subtle inflections of tone, her beautiful, radiant voice bringing them to raptures of delight. Some can't stand her, finding her over-interpreting everything and not letting the music speak for itself. I fall very firmly into the former category.
People will always argue whether this performance of the Four Last Songs or the one she made 12 years earlier with Ackerman is superior. Let me be very clear - both are sublime, both are different, and if you can afford it, get both, like you would two recordings from different singers. If you can't afford both, get either. The earlier recording is more impassioned, fresher voiced. The latter recording (here) is more intelligent - it is hard to imagine more insights being poured into every word. It has a restrained, elegant passion that can only come from the years of experience Schwarzkopf garnered in these songs.
You will do well supplementing a Schwarzkopf four last songs with a larger voice like Norman or Studer, and a cleaner, purer, more silvery voice like Janowitz or Auger. But Schwarzkopf is the best place to start.
The vier letzte lieder aren't the only thing on this disc. The other Strauss lieder are just as delightful. Every time I return to this disc I'm struck afresh by just how indescribably beautiful her renditions are. Every time I see this disc in the CD shop I feel tempted to buy it again. I'm not normally that irrational but it's a reflection of how much I love this recital. This should be in every music-lovers collection. Obviously, you needn't hesitate!!
9 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0x93b72408) étoiles sur 5 Schwarzkopf and Szell Team Up For An Incandescent Strauss Record 9 septembre 2006
Par dv_forever - Publié sur Amazon.com
Format: CD Achat vérifié
Four decades later this remains one of the greatest recordings of this final, transcendent Richard Strauss masterpiece. Some have shown preference for the earlier Schwarzkopf sung, Otto Ackermann conducted EMI record. I can't imagine why someone would want that mono recording over this gorgeous stereo version. Schwarzkopf here is just as radiant if not more so, the speeds are perfectly judged by Szell and everything has an luminous glow about it. The fact that 12 extra Strauss songs are here too puts this CD over the top, a must buy.

There have been plenty of great versions of the Four Last Songs since Schwarzkopf, the likes of Gundula Janowitz with Herbert Von Karajan and especially the spectacular Jessye Norman with Kurt Masur, yet the Schwarzkopf account can still match any other version in the catalogue for sheer beauty, the tender articulation of words and deep understanding of the music. Jessye Norman surpasses Elizabeth Schwarzkopf for operatic splendour and voluptousness of sound so you definitely need to get that version too. Having several performances of this immortal masterwork is a must!
9 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0x93b31ac8) étoiles sur 5 A wiser Schwarzkopf in one of her best latter recordings 4 novembre 2006
Par Byron Kolln - Publié sur Amazon.com
Format: CD
One of the landmark opera albums of the 1960s', Elisabeth Schwarzkopf's recording of Strauss' "Four Last Songs"; and the twelve Lieder songs of Burger, Dehmel, Bierbaum and others, is beautifully-remastered here for compact disc.

Schwarzkopf was in her fifties when she recorded these works, and there is a lot to be said for the mature, knowing performance from a soprano voice of that age. It speaks of life's joys and heartaches, and a heart still longing for youthful romance. I seriously doubt that anyone will ever fully eclipse Elisabeth's sheer dramatic intensity in this recording. She transforms herself back into a young girl, yet still retains the dramatic use of her maturity.

This recording has been remastered using Abbey Road's Prism SNS system, which gives the recording a natural soundscape, free of annoying echo or reverb, allowing Schwarzkopf's voice to come forth with astonishing clarity. Simply, it's the best this recording has ever sounded. A bargain price too.

[EMI Classics 7243 5 66908 2 0]
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