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Richard Strauss - Four Last Songs - Who's the mummy?

54K views 308 replies 57 participants last post by  John Allen 
#1 ·
I'll start
Elizabeth Schwarzkopf
Felicity Lott
Jessye Norman

Any one else better?
 
#184 ·
I don't think stating a preference is wrong, but it doesn't stop me enjoying lots of different performances. I love the Vier letzte Lieder. I have quite a few recordings and I love them all, though that doesn't stop me having a slight preference for one of them, nor does it stop me listening to, and enjoying, the others.
 
#190 ·
In light of the above discussion I had to listen again to Jessye Norman in these songs. We should recall that Strauss wrote them with the rich, powerful voice of Kirsten Flagstad in mind - or, at the very least, he chose her to premiere them. She, unfortunately, no longer had the freedom and ease on high to do them justice, as can be heard in the recording that was made on the occasion. But I'm going to venture the opinion that had Strauss heard Norman's recording he would have heard his vision of the work fulfilled.

My favorite performances of the songs have always been Schwarzkopf's by a fair margin, with perhaps a slight preference for her fleeter, less micromanaged earlier version with Otto Ackerman. Given that preference, I'm almost surprised to find that Norman really overwhelms even my usual dislike of slow tempos in this music (which caused me to dislike Rene Fleming's first recording). This is simply another kind of experience altogether, from Schwarzkopf/Ackerman or anyone else, and the unique quality and magnitude of Norman's voice cause me to expect different things from it, not only vocally but interpretively. As the songs proceed I find myself more and more astonished at the ease and splendor of the sound as it mounts the music wave upon wave. This kind of technical security is rare in dramatic voices, and Norman's confidence in the soprano tessitura combined with a deep, almost contralto-like timbre here make an effect I can only call uncanny - and magnificent. When we come to the final song, "Im Abendrot," Masur sets a tempo that would sound incongruous with a light voice, but Norman fills out the spacious musical landscape with a tonal amplitude and a breadth of phrasing that makes of it the most majestic of valedictions.

The Olympian majesty of Norman's singing and her sensitive but never fussy projection of the text, with Masur giving her all the room she needs to spread her eagle wings, challenge my preconceptions of what these songs should sound like, and I find it a very valid alternative to the lighter, lyric-soprano sound picture we are used to. This must be what Strauss had imagined Flagstad would give him, and it's a pity he couldn't be around to hear it.
 
#191 ·
In light of the above discussion I had to listen again to Jessye Norman in these songs. We should recall that Strauss wrote them with the rich, powerful voice of Kirsten Flagstad in mind - or, at the very least, he chose her to premiere them. She, unfortunately, no longer had the freedom and ease on high to do them justice, as can be heard in the recording that was made on the occasion. But I'm going to venture the opinion that had Strauss heard Norman's recording he would have heard his vision of the work fulfilled.

My favorite performances of the songs have always been Schwarzkopf's by a fair margin, with perhaps a slight preference for her fleeter, less micromanaged earlier version with Otto Ackerman. Given that preference, I'm almost surprised to find that Norman really overwhelms even my usual dislike of slow tempos in this music (which caused me to dislike Rene Fleming's first recording). This is simply another kind of experience altogether, from Schwarzkopf/Ackerman or anyone else, and the unique quality and magnitude of Norman's voice cause me to expect different things from it, not only vocally but interpretively. As the songs proceed I find myself more and more astonished at the ease and splendor of the sound as it mounts the music wave upon wave. This kind of technical security is rare in dramatic voices, and Norman's confidence in the soprano tessitura combined with a deep, almost contralto-like timbre here make an effect I can only call uncanny - and magnificent. When we come to the final song, "Im Abendrot," Masur sets a tempo that would sound incongruous with a light voice, but Norman fills out the spacious musical landscape with a tonal amplitude and a breadth of phrasing that makes of it the most majestic of valedictions.

The Olympian majesty of Norman's singing and her sensitive but never fussy projection of the text, with Masur giving her all the room she needs to spread her eagle wings, challenge my preconceptions of what these songs should sound like, and I find it a very valid alternative to the lighter, lyric-soprano sound picture we are used to. This must be what Strauss had imagined Flagstad would give him, and it's a pity he couldn't be around to hear it.
Precisely. It was Strauss who chose Flagstad after all :)
 
#196 · (Edited)
Woodduck: Post hoc ergo propter hoc has to do with an improper assumption of causation. I don't see the relevance. What's assumed to have caused what?
Of course I was referring to your idea that had King Richard II heard Jessye Norman's Four Last Songs then his reason for composing them would have been fulfilled.

Woodduck: Yes, I'm sure Strauss would have enjoyed Schwarzkopf's silvery timbre and fine-tuned artistry. I'm sure he would have appreciated a variety of singers and interpreters of his work. It's to be hoped that we all can.
"Strauss would have appreciated a variety of singers and interpreters of his work". . . just as long as one keeps in mind that his 'ideal' was Flagstad. . . right? :angel:
 
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#197 · (Edited)
^^^ I think you've exaggerated my position slightly, but then my burgundy (I don't quite own up to purple) prose does tend to have that effect. I wouldn't say that any individual singer was Strauss's "ideal," but we can be pretty sure that he wouldn't have chosen Flagstad to premiere the songs if he didn't find a large dramatic soprano voice very suitable (and perhaps, though not necessarily, preferable) for them. The question is: does Norman's performance bear out the supposition? I think it does. Flagstad was in her fifties then, and Strauss probably knew her voice in its prime. Too bad he didn't write the songs a decade earlier. As to Greg's point about his feeling that Elisabeth Schumann would make a good Salome, I suspect that was more a comment on the girlish, silvery quality of her timbre than on her voice's size, but it might even be taken to show that he tended to underestimate the size of voices needed to sing his music.

I have no reservations whatever about Schwarzkopf's performances of these songs, which really leave nothing to be desired. But I would not be without the unique experience of Jessye Norman's dramatic soprano in its prime, bringing a dimension of majesty to them that no lyric voice could equal. Strauss would have been delighted with them both, I'm sure. As a music collector, I feel a need for no others.
 
#198 ·
Flagstad was in her fifties then, and Strauss probably knew her voice in its prime. Too bad he didn't write the songs a decade earlier.
I would be surprised if Strauss didn't hear Kirsten in her prime ;). By the way, had Leider or Lubin been still active at that time, Strauss would have definitely let the diva share the songs. Imagine how Leider would soar gleamingly in Frühling or Lubin let her autumnal voice fade out at the end September. Yes, I can totally picture these great hochdramatische soprano do justice to the Vier letzte Lieder.

As to Greg's point about his feeling that Elisabeth Schumann would make a good Salome, I suspect that was more a comment on the girlish, silvery quality of her timbre than on her voice's size, but it might even be taken to show that he tended to underestimate the size of voices needed to sing his music.
Strauss called Salomea Kruszelnicka, one of the reigning divas at La Scala, "perfect" as Salome and Elektra. It is true that she is a monster of an artist (she sung everything from Verdi, Meyerbeer, hardcore Wagner, Strauss to Puccini and popular verismo), but her voice indeed sounds "light" (in a good way) with impressive coloratura, nothing like Nilsson, Varnay, Modl, Behrens at all.

Here is her much celebrated L'altra notte, as haunting as the Muzio's version:



Or a lovely Tosti song:

 
#208 · (Edited)
Aah! Strauss' most emotional songs sung by opera's least emotional singer. Not my cup of poison I'm afraid.
 
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#227 ·
It's the one I "imprinted" on...

~
 
#237 ·
As a Strauss fan(atic) who would place The Four Last Songs among the 3 or 4 greatest works of the 20th century, I have more than a few recordings of the FLS.



Most of these are recorded by singers I would count among my favorites... and almost every last one brings something to Strauss' masterpiece different and original so that I would not be without them. Having said that... I am in agreement with those who place the Schwarzkopf/Szell recording above all others.
 
#247 · (Edited)
I have the Janowitz/Karajan recording in my collection, and have been surprised that some here seem so fond of it. The consistent purity of her vocalism is indisputable, but for me it's the cold purity of a porcelain statuette. I can think of no voice of comparable reputation which contains so little color or expressive variety. When I hear this Lady of Perpetual Virginity making every piece of music she sings sound pretty much like every other piece of music she sings, and all of them sound little more human than an ondes Martenot, I can only think that people must simply be in love with the sound itself and care little about the words the composers have set so lovingly. Certainly the words go for almost nothing in her Four Last Songs.

I first knew Janowitz as the first flower maiden, teasing Parsifal in the magic garden, a part that couldn't have suited her better (especially in contrast with the real woman who's about to come on the scene); then I heard her in the old Karajan Brahms Requiem, and after knowing Schwarzkopf in the Klemperer recording I thought Janowitz sounded like a disembodied spirit or a space alien - beautiful, but weirdly so. Actually I rather liked the effect she made, but I have no hesitation in calling it an effect. I would never use that word to describe Schwarzkopf. Schwarzkopf's Brahms comforts me; Janowitz's fascinates initially, but finally bores me.

Is mine a minority opinion? Whatever. I just thought I'd throw it out there. I think Strauss was right in feeling that a richer, darker voice could bring something to his songs that a pure lyric voice like Janowitz's - but is there another voice as cut-glass pure as hers? - could not.
 
#248 · (Edited)
I have the Janowitz/Karajan recording in my collection, and have been surprised that some here seem so fond of it. The consistent purity of her vocalism is indisputable, but for me it's the cold purity of a porcelain statuette. I can think of no voice of comparable reputation which contains so little color or expressive variety. When I hear this Lady of Perpetual Virginity making every piece of music she sings sound pretty much like every other piece of music she sings, and all of them sound little more human than an ondes Martenot, I can only think that people must simply be in love with the sound itself and care little about the words the composers have set so lovingly. Certainly the words go for almost nothing in her Four Last Songs.

I first knew Janowitz as the first flower maiden, teasing Parsifal in the magic garden, a part that couldn't have suited her better (especially in contrast with the real woman who's about to come on the scene); then I heard her in the old Karajan Brahms Requiem, and after knowing Schwarzkopf in the Klemperer recording I thought Janowitz sounded like a disembodied spirit or a space alien - beautiful, but weirdly so. Actually I rather liked the effect she made, but I have no hesitation in calling it an effect. I would never use that word to describe Schwarzkopf. Schwarzkopf's Brahms comforts me; Janowitz's fascinates initially, but finally bores me.

Is mine a minority opinion? Whatever. I just thought I'd throw it out there. I think Strauss was right in feeling that a richer, darker voice could bring something to his songs that a pure lyric voice like Janowitz's - but is there another voice as cut-glass pure as hers? - could not.
I 'love' this post by the way.

Janowitz is radiant- but never restless. Cool- but rarely nuanced.

She may be a rarefied "space alien- beautiful, but weirdly so"- as you put it- but she really does need a Planet Glamtron 5000 upgrade.

She needs an upgraded sound card that gives off 'aurora borealis' and 'sheet lightning' in that glorious voice of hers.
 
#258 ·
The last of the songs is very touching to me. The image of Strauss and his wife, looking at the sunset, and likened to two birds.

That really gets me every time! (sob sob...) :(
 
#262 ·
Found this little gem on YouTube. Who knew?

 
#264 ·
Just listened to Lucia Popp and Klaus Tennstedt doing the Vier Letzte Lieder. It reminded me of how much I love Lucia's voice and also Tennstedt's conducting. Delightful stuff.
 
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#266 ·
Hi all you classical fans
Recommended this site today and Bingo! My favourite piece of all time that is played almost daily.
Been listening to this for about 40+ years and heard so many, many recordings.
My favourite has to be Lucia Popp. Those bell like top notes kill me.
Second is Elizabeth Schwartzkopf with Szell. Third Gundula Janowitz. Fourth Felicity Lott.
All four songs are fantastic but the standout, for me, is Beim Schlafengehen. Often has me in floods.
 
#268 ·
Just got the Anna Netrebko version of Vier Letzte Lieder. Oh dear. Shan't be returning to this very often. Very wavery and inaccurate singing. Fortunately the filler of Heldenleben is pretty good. Not a Vier Letzte Lieder for the ages.
 
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#273 ·
I hear you and agree that it is a wonderful version but I wouldn't be without some of my others. Lucia Popp, Frau Schwarzkopf and Felicity Lott to name only a few!
 
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#275 ·
Here is an interesting version of the Four Last Songs - Elisabeth Schwarzkopf with Sir John Barbirolli and the London Symphony Orchestra recorded live in the Royal Festival Hall. Whoever directed the recording, they did a slightly odd job with the microphone setup as it makes Schwarzkopf sound a bit harsh and almost in a separate acoustic, but otherwise is definitely worthwhile hearing.

 
#280 ·
Yes, he seems unafraid to tackle repertoire with which male singers are generally unassociated. I rather enjoyed his Wesendonck Lieder.
 
#283 ·
Not too shabby for also-rans!!:lol:
 
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#284 ·
I'm a big fan of Gundula Janowitz, but not of Karajan. Besides, I think the younger Karajan did this music better with Schwarzkopf (albeit in lesser mono sound). I wish Janowitz had recorded these works with Rudolf Kempe and the Staatskapelle Dresden instead. Haitink is another excellent Strauss conductor, but why did they take Im Abendrot so fast? It doesn't work for me (I agree with Bill).

The same is true for Lisa Della Casa's wonderfully sung Four Last Songs--another great singer working with an arguably second rate conductor, Karl Böhm, who rushes her in the final song (& elsewhere), bringing it in at a speedy 6:00 minutes. Sorry, that's just bad conducting. At least, to my ears, they're not on the same page, as apparently Della Casa's instincts were to slow down and Böhm didn't want to.

In contrast, a live recording with Elly Ameling from the Concertgebouw in Amsterdam pairs a great singer with a 1st class, seasoned Strauss conductor, Wolfgang Sawallisch. (Sawallisch performed every note that Strauss ever composed over the course of his long career, or at least set out to do so & got very close...). However, unfortunately, the concert was late in Ameling's career, and her voice isn't quite as fresh and youthful sounding as it was in her prime. Nevertheless, the artistry is still there, and I find the subtlety of her interpretation fascinating.

I also like Elisabeth Söderström's two recordings (with Dorati & Armstrong--especially in the 3rd song), Arleen Auger and the Vienna Philharmonic (Previn's timings are near ideal, especially in the 4th song--best ever), Elisabeth Schwarzkopf in the 3rd song (with Ackermann and Szell), and for sheer opulence, Jessye Norman and the Leipzig Gewandhaus Orchestra, conducted by Kurt Masur, who brilliantly take the final song more slowly than anyone else I've heard.
 
#288 ·
I'm a big fan of Gundula Janowitz, but not of Karajan. Besides, I think the younger Karajan did this music better with Schwarzkopf (albeit in lesser mono sound). I wish Janowitz had recorded these works with Rudolf Kempe and the Staatskapelle Dresden instead. Haitink is another excellent Strauss conductor, but why did they take Im Abendrot so fast? It doesn't work for me (I agree with Bill).

The same is true for Lisa Della Casa's wonderfully sung Four Last Songs--another great singer working with an arguably second rate conductor, Karl Böhm, who rushes her in the final song (& elsewhere), bringing it in at a speedy 6:00 minutes. Sorry, that's just bad conducting. At least, to my ears, they're not on the same page, as apparently Della Casa's instincts were to slow down and Böhm didn't want to.

In contrast, a live recording with Elly Ameling from the Concertgebouw in Amsterdam pairs a great singer with a 1st class, seasoned Strauss conductor, Wolfgang Sawallisch. (Sawallisch performed every note that Strauss ever composed over the course of his long career, or at least set out to do so & got very close...). However, unfortunately, the concert was late in Ameling's career, and her voice isn't quite as fresh and youthful sounding as it was in her prime. Nevertheless, the artistry is still there, and I find the subtlety of her interpretation fascinating.

I also like Elisabeth Söderström's two recordings (with Dorati & Armstrong--especially in the 3rd song), Arleen Auger and the Vienna Philharmonic (Previn's timings are near ideal, especially in the 4th song--best ever), Elisabeth Schwarzkopf in the 3rd song (with Ackermann and Szell), and for sheer opulence, Jessye Norman and the Leipzig Gewandhaus Orchestra, conducted by Kurt Masur, who brilliantly take the final song more slowly than anyone else I've heard.
I added the Auger/Previn to my collection of VLL today. I'm looking forward to hearing it, there have been many good reports.
 
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