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Richard Strauss: Complete Operas

Release Date: 03/25/2014 
Label:  Deutsche Grammophon   Catalog #: 002013902  
Composer:  Richard Strauss
Performer:  Anneliese RothenbergerCäcilie ReichEva Maria RognerIra Malaniuk,   ... 
Conductor:  Joseph KeilberthGiuseppe SinopoliKarl BöhmSir Georg Solti,   ... 
Orchestra/Ensemble:  Bavarian State Opera OrchestraBavarian State Opera ChorusStaatskapelle Dresden,   ... 
Number of Discs: 33 
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Notes and Editorial Reviews

2014 is the 150th anniversary of the birth of Richard Strauss, born on June 11, 1864. Deutsche Grammophon marks the occasion with this 33-CD set of the fifteen complete operas by the composer, from Guntram (1893) to Capriccio (1941). Brimming with some of the greatest and most critically acclaimed Strauss recordings of the last 50 years, the set includes both beloved favorites and striking rarities. The collection also contains highly researched documentation, including a Strauss operas timeline and a new essay by Nigel Simeone. It is presented in luxurious, eye-catching packaging which depicts various scenes from Salome by an unknown artist (“Kailich”) from 1927.


Read more The Keilberth Arabella with Lisa della Casa and Dietrich Fischer-Dieskau

The Solti Elektra with Birgit Nilsson

Three of the classic Karl Böhm recordings: Capriccio, Daphne, and Die schweigsame Frau

The Sawallisch Intermezzo with Lucia Popp

The Solti Rosenkavalier with Régine Crespin, Yvonne Minton, and Helen Donath

The Sinopoli Salome with Cheryl Studer and Bryn Terfel

Also included is a bonus CD of Jessye Norman’s classic recording of the Four Last Songs and Orchestrated Songs with Kurt Masur and the Gewandhaus Orchester Leipzig.

R E V I E W S:

"It is a performance cherishable not only for the shining silvery tone [of della Casa] but also for a touching warmth of feeling... Fischer-Dieskau's rough country fellow sometimes softens movingly in a sweetness not quite matched in the 1981 performance ("Das ist emn Fall von andrer Art", nobly sincere in the Sawallisch recording, is ravishingly lyrical here). Good work from the Zdenka and Waldner are further assets..." – Gramophone [11/1985]

Ariadne auf Naxos
"What a pity that this is Giuseppe Sinopoli's valedictory; it leaves us to imagine how glorious the rest of his Strauss opera readings may've been. Here, in the composer's most transparent, un-sentimental score, Sinopoli gets playing from the Dresden forces that makes everything Strauss and Hoffmansthal were driving at absolutely clear... This Ariadne goes to the top of the list--recommended to all lovers of Strauss and great singing, and, possibly, the performance that might convert non-Ariadne lovers to true fans." – Robert Levine, ClassicsToday.com [11/20/2001]

"...Janowitz is a shade cooler [than Elisabeth Schwarzkopf], a more objective aristocrat but she is the singer who most often ravishes the ear with her singing, the Strauss soprano par excellence. Schwarzkopf's account of the Sonnet reprise seems one of the most sheerly beautiful pieces of Strauss singing on disc until you hear Janowitz tackle it, in its richer way just as lovely." – Gramophone [2/1996]

"This is Strauss's most lyrical opera and occupies a special place in the affections of his admirers. Böhm's unfolding of the marvellous orchestral score, from that first oboe melody to its final metamorphosis, is the work of a master-interpreter... Hilde Gueden's Daphne is a lovely performance, sung with an engaging innocence, as befits this mysterious heroine, but also with the soaring richness that the part requires in its most dramatic passages, such as the duet with Apollo, sung by James King with power and conviction... For tonal beauty, however, there is Wunderlich...making something exceptionally expressive out of every phrase." – Gramophone [10/1988]

"It is the raw power and demonic energy of Solti, Nilsson, Resnik, and the Vienna Philharmonic that make this 1961 set a true classic." – Henry Fogel, FANFARE

Die schweigsame Frau
"Hotter is again one of the stars of the 1959 Schweigsame Frau, an opera of which Böhm gave the premiere in 1936 under inauspicious circumstances (here he conducts it lightly, engagingly). As the noise-hating Sir Morosus, Hotter shows his amazing versatility (at this time he was also tackling Gurnemanz) and his ability to cope with the detail of Zweig's brilliant libretto, the wittiest and most amusing Strauss ever set. Hotter finds a calm, warm legato for the quiet solos that end Acts 2 and 3 and for the plaintive love duet with Aminta, so soon to make Morosus's life an obstreperous hell on earth, and the power for his outbursts of incontinent outrage. As Sir Henry, Morosus's equivocal nephew, Fritz Wunderlich discloses, for the first time at Salzburg, his sappy tone and immaculate style. His Aminta is the delightful Hilde Gueden, who sings the Norina-like part with charm and brilliance. Altogether we learn here why Strauss had such a deep affection for this piece." – Gramophone [11/1994]

"Alfred Dohnen's portrayal of the Commandant is magnificent; his impeccable German diction and grand nobility of phrase and tone (almost) makes us respect this order-following leader. Deborah Voigt sings Maria's music as if she knows it's the score's only hope--she's in grand voice and works with the text to try to make it all believable. Johan Botha's turn as a Piedmontese soldier is nice and Jon Villars makes the most of the Town's mayor. But the star is the late Giuseppe Sinopoli, who leads it all with great conviction, raising his Dresden forces to great heights. The sound is glorious. This recording is the one to get. (In that other review I presumed we'd never hear a better performance; I was wrong.)" – Robert Levine, ClassicsToday.com

"Sheer joy... The role of Christine is a gift to a lyric soprano and is marvellously characterized by Lucia Popp, neither too shrewish nor too soft-grained and conveying her irresistible attraction for her husband, Robert Storch (alias Strauss). The latter role is forcefully sung by Fischer-Dieskau and there are excellent portrayals by the rest of the cast, especially from Adolf Dallapozza as Baron Lummer. But the prime pleasure in this technically brilliant recording—every word and note crystal-clear—is Sawallisch's comprehensive command of the opera and the flawless orchestral performance by the Bavarian Radio Symphony Orchestra. The interludes, miniature tone-poems in themselves, are sumptuously played." – Gramophone [1/1989]

Der Rosenkavalier
"...one of the truly great recordings. Solti's conducting is refreshing, more champagne than schmaltz, yet not unduly driven, and his singers are superb, not just Crespin, Minton and Jungwirth (as Ochs) but the entire ensemble." – BBC Music Magazine [May 2008]

Review of entire box
Deutsche Grammophon’s 33-disc collection devoted to Richard Strauss’ complete operas draws upon live and studio recordings that span from 1952 to 2000, sequenced in alphabetical order. Actually, one should say “complete-ish”, since certain performances observe cuts ranging from minor nips and tucks to major slashing (Arabella’s third act, for instance). Two items purport to be first releases, but that’s not quite the case. The 1952 Salzburg broadcast of Strauss’ penultimate opera Die Liebe Der Danae a few weeks after its public world premiere was officially available on an Orfeo release that I have not heard. The sound quality is limited, yet you still can hear how Clemens Krauss and the Vienna Philharmonic dig into the lush harmonies and frothy orchestration at full tilt, abetted by wonderful singing from Paul Schöffer, Josef Traxel, and Annelies Kupper.

The other “first release”, Erich Leinsdorf’s 1978 Berlin broadcast of Feuersnot, came out on the Ponto label back in 2005. My colleague Robert Levine’s vivid synopsis can be found in his review of the 1986 Munich Radio Orchestra recording starring Bernd Weikl and Julia Varady. Leinsdorf’s comparably strong cast includes soprano Gundula Janowitz on top form in the role of Diemut (sample). Vocal considerations (especially Fritz Wunderlich’s presence) obviously influenced the choice of archival broadcast versions for Die Schweigsame Frau and Daphne, both conducted by Karl Böhm. However an underrated 1968 studio Capriccio with Janowitz and Dietrich Fischer-Dieskau does better justice to this conductor’s first-hand Straussian credentials.

Another conductor who knew and worked with the composer, Georg Solti, is represented by three of his six Strauss opera studio recordings recently reissued by Decca. Elektra and Die Frau Ohne Schatten remain versions of reference. Solti’s Der Rosenkavalier is orchestrally impeccable and cast from strength (Regine Crespin’s sexy Marschallin, and Manfred Jungwirth’s noble, beautifully sung Ochs, for example), but I would have chosen instead the warmer, more flexible 1974 Edo De Waart Rotterdam Philips version, also recorded without cuts. While my colleague Robert Levine likes this recording less than I, we are in harmonious accord regarding Sinopoli’s Ariadne Auf Naxos and Friedenstag: both stunningly executed and engineered.

It’s good to reconnect with Sinopoli’s 1991 Salome. The Orchester de Deutschen Oper Berlin yields nothing to the competition, whether mixing and matching the Dance of the Seven Veils’ sultry colors or projecting the Final Scene’s roof-raising volume at full force yet without strain. Admittedly the veteran Leonie Rysanek is a bit wobbly as Herodias, but I forgot about Cheryl Studer’s agility and power in the title role. And Bryn Terfel’s booming John the Baptist proves marginally fresher than his Dohnányi/Vienna remake from a few years later. Lisa Della Casa is slightly past her prime in the live 1963 Bavarian State Opera Arabella under Joseph Keilberth (I prefer the uncut Solti and Tate Decca alternatives), but Gwyneth Jones is in her best vocal estate throughout Die Aegyptische Helena in a 1979 studio recording that captures the Antal Dorati/Detroit Symphony partnership at its zenith.

For Strauss’ first opera, Guntram, DG licensed Eve Queler’s 1984 CBS recording with the Hungarian State Orchestra. The text is presented in the composer’s 1940 revision, with a reworked libretto and about 30 minutes less music. Tenor Reiner Goldberg’s virile, stentorian portrayal of the title role remains the recording’s strongest asset and raison d’être. Intermezzo is represented by the Sawallisch recording that EMI recently reissued as part of its big box Richard Strauss: The Great Operas. Lastly, Disc 33 offers the Jessye Norman/Kurt Masur 1983 Vier letzte lieder coupled with selected orchestral songs—a classic and appropriate bonus. No librettos are included, but a 168-page booklet presents complete plot synopses, discographical credits, and a fine general essay by Nigel Simeone on Strauss’ operatic career.

– Jed Distler, ClassicsToday.com Read less

Works on This Recording

Arabella, Op. 79 by Richard Strauss
Performer:  Anneliese Rothenberger (Soprano), Cäcilie Reich (Soprano), Eva Maria Rogner (Soprano),
Ira Malaniuk (Mezzo Soprano), Walter Carnuth (Tenor), Georg Paskuda (Tenor),
Erich Ringel (Tenor), Fritz Uhl (Tenor), Horst Günter (Baritone),
Walter Ehrengut (Bass), Carl Hoppe (Bass), Karl [bass baritone] Kohn (Bass),
Matthias Mertes (Bass), Lisa Della Casa (Soprano), Dietrich Fischer-Dieskau (Baritone),
Karl Mücke (Bass), Walther Matthes (Baritone)
Conductor:  Joseph Keilberth
Orchestra/Ensemble:  Bavarian State Opera Orchestra,  Bavarian State Opera Chorus
Period: Romantic 
Written: 1929-1932; Germany 
Date of Recording: 08/1963 
Venue:  Prinzregententheater, Munich 
Length: 159 Minutes 27 Secs. 
Language: German 
Ariadne auf Naxos, Op. 60 by Richard Strauss
Performer:  Deborah Voigt (Soprano), Anne Sofie von Otter (Mezzo Soprano), Alberto Dohmen (Baritone),
Romuald Pekny (Spoken Vocals), Ben Heppner (Tenor), Matthias Henneberg (Tenor),
Stephan Genz (Baritone), Jurgen Commichau (Bass), Ian Thompson (Tenor),
Christoph Genz (Tenor), Christiane Hossfeld (Soprano), Sami Luttinen (Baritone),
Natalie Dessay (Soprano), Angela Liebold (Mezzo Soprano), Eva Kirchner (Soprano),
Michael Howard (Tenor), Klaus Florian Vogt (Tenor)
Conductor:  Giuseppe Sinopoli
Orchestra/Ensemble:  Staatskapelle Dresden
Period: Romantic 
Written: 1911/1916; Germany 
Date of Recording: 2000 
Venue:  St. Luke's Church, Dresden, Germany 
Length: 122 Minutes 4 Secs. 
Language: German 
Capriccio, Op. 85 by Richard Strauss
Performer:  Anton de Ridder (Tenor), Tatiana Troyanos (Mezzo Soprano), Arleen Augér (Soprano),
Peter Schreier (Tenor), Dietrich Fischer-Dieskau (Baritone), Hermann Prey (Baritone),
David Thaw (Tenor), Karl Ridderbusch (Bass), Gundula Janowitz (Soprano),
Karl [bass baritone] Kohn (Baritone)
Conductor:  Karl Böhm
Orchestra/Ensemble:  Bavarian Radio Symphony Orchestra,  Bavarian Radio Chorus
Period: Romantic 
Written: 1940-1941; Germany 
Date of Recording: 04/1971 
Venue:  Herkulessaal, Residenz, Munich 
Length: 142 Minutes 24 Secs. 
Language: German 
Daphne, Op. 82 by Richard Strauss
Performer:  Harald Pröglhöf (Bass), Hilde Gueden (Soprano), Ludwig Welter (Bass),
Rita Streich (Soprano), Kurt Equiluz (Tenor), Hans Braun (Bass),
Fritz Wunderlich (Tenor), Paul Schöffler (Baritone), Vera Little (Alto),
Erika Mechera (Soprano), James King (Tenor)
Conductor:  Karl Böhm
Orchestra/Ensemble:  Vienna State Opera Chorus,  Vienna Symphony Orchestra
Period: Romantic 
Written: 1936-1937; Germany 
Date of Recording: 1964 
Venue:  Live  Theater an der Wien, Vienna 
Length: 94 Minutes 21 Secs. 
Language: German 
Elektra, Op. 58 by Richard Strauss
Performer:  Marie Collier (Soprano), Tom Krause (Baritone), Gerhard Stolze (Tenor),
Regina Resnik (Mezzo Soprano), Birgit Nilsson (Soprano), Leo Heppe (Bass),
Gerhard Unger (Tenor), Pauline Tinsley (Soprano), Felicia Weathers (Soprano),
Yvonne Minton (Mezzo Soprano), Jane Cook (Soprano), Maureen Lehane (Alto),
Helen Watts (Alto), Margarita Lilowa (Mezzo Soprano), Margarete Sjösted (Mezzo Soprano),
Tugomir Franc (Bass)
Conductor:  Sir Georg Solti
Orchestra/Ensemble:  Vienna Philharmonic Orchestra
Period: 20th Century 
Written: 1906-1908; Germany 
Date of Recording: 1967 
Venue:  Sofiensaal, Vienna 
Length: 107 Minutes 50 Secs. 
Language: German 
Feuersnot, Op. 50 by Richard Strauss
Performer:  Josef Becker (Bass), Barbara Scherler (Mezzo Soprano), Walton Grönroos (Bass),
Gabriele Schreckenbach (Mezzo Soprano), Karl-Ernst Mercker (Tenor), Shoko Miahara (Voice),
John Shirley-Quirk (Bass), Carol Malone (Soprano), Maria-José Brill (Voice),
Klaus Lang (Baritone), Helmut Krebs (Tenor), Helmut Berger-Tuna (Bass),
Gundula Janowitz (Soprano), Wolfgang Appel (Tenor), Maddalena de Faria (Voice)
Conductor:  Erich Leinsdorf
Orchestra/Ensemble:  Tölz Boys Choir,  Berlin Radio Symphony Orchestra,  Berlin RIAS Chamber Chorus
Period: Romantic 
Written: 1900-1901; Germany 
Venue:  Live  Berlin, Germany 
Language: German 
Die Frau ohne Schatten, Op. 65 by Richard Strauss
Performer:  Reinhild Runkel (Mezzo Soprano), Alberto Dohmen (Baritone), José van Dam (Baritone),
Hildegard Behrens (Soprano), Sumi Jo (Soprano), Eva Lind (Soprano),
Hans Franzen (Bass), Gottfried Hornik (Baritone), Wilfried Gahmlich (Tenor),
Robert Gambill (Tenor), Elzbieta Ardam (Alto), Noriko Sasaki (Soprano),
Donna Robin (Soprano), Elisabeth Lang (), Rannveig Braga (Mezzo Soprano),
Ursula Targler (Soprano), Wolfgang Schneider (Bass), Gerhard Eder (Bass),
Karl Nebenführ (Bass), Elisabeth Lang (Soprano), Julia Varády (Soprano),
Placido Domingo (Tenor)
Conductor:  Sir Georg Solti
Orchestra/Ensemble:  Vienna State Opera Chorus,  Vienna Philharmonic Orchestra,  Vienna Boys' Choir
Period: Romantic 
Written: 1914-1918; Germany 
Date of Recording: 1989-91 
Venue:  Grosser Saal, Musikverein, Vienna 
Length: 195 Minutes 28 Secs. 
Language: German 
Die schweigsame Frau, Op. 80 by Richard Strauss
Performer:  Hans Hotter (Bass Baritone), Hilde Gueden (Soprano), Fritz Wunderlich (Tenor),
Hermann Prey (Baritone), Georgine von Milinkovic (Mezzo Soprano), Pierrette Alarie (Soprano),
Hetty Plümacher (Soprano), Josef Knapp (Baritone), Karl Dönch (Baritone),
Alois Pernerstorfer (Bass Baritone)
Conductor:  Karl Böhm
Orchestra/Ensemble:  Vienna State Opera Chorus,  Vienna Philharmonic Orchestra
Period: Romantic 
Written: 1933-1934; Germany 
Date of Recording: 08/06/1959 
Venue:  Live  Festspielhaus, Salzburg, Austria 
Length: 146 Minutes 15 Secs. 
Language: German 
Friedenstag, Op. 81 by Richard Strauss
Performer:  Norbert Klesse (Boy Soprano), Deborah Voigt (Soprano), Alberto Dohmen (Baritone),
Johan Botha (Tenor), Jon Villars (Tenor), Alfred Reiter (Bass),
Tom Martinsen (Tenor), Jochen Kupfer (Baritone), André Eckert (Bass),
Jurgen Commichau (Bass), Jochen Schmeckenbecher (Baritone), Matthias Henneberg (Tenor),
Attila Jun (Baritone), Sami Luttinen (Baritone), Sabine Brohm (Soprano),
Ekkehard Pansa (), Rafael Harnisch ()
Conductor:  Giuseppe Sinopoli
Orchestra/Ensemble:  Staatskapelle Dresden,  Dresden State Opera Chorus
Period: Romantic 
Written: 1935-1936; Germany 
Date of Recording: 09/1999 
Venue:  Lukas Church, Dresden, Germany 
Length: 75 Minutes 58 Secs. 
Language: German 
Guntram, Op. 25 by Richard Strauss
Performer:  Ilona Tokody (Soprano), Reiner Goldberg (Tenor), Sándor Sólyom-Nagy (Baritone)
Conductor:  Eve Queler
Orchestra/Ensemble:  Hungarian State Orchestra
Period: Romantic 
Written: 1893/1934; Germany 
Die ägyptische Helena, Op. 75 by Richard Strauss
Performer:  Matti Kastu (Tenor), Barbara Hendricks (Soprano), Willard White (Baritone),
Curtis Rayam (Tenor), Birgit Finnilä (Mezzo Soprano), Dinah Bryant (Soprano),
Betty Lane (Soprano), Glenda Kirkland (Mezzo Soprano), Patti Dell (Soprano),
Dame Gwyneth Jones (Soprano), Maria Cimarelli (Alto), Katherine Grimshaw (Alto)
Conductor:  Antal Doráti
Orchestra/Ensemble:  Detroit Symphony Orchestra
Period: Romantic 
Written: 1923-1927; Germany 
Date of Recording: 05/1979 
Venue:  United Artists Auditorium, Detroit 
Length: 128 Minutes 9 Secs. 
Language: German 
Intermezzo, Op. 72 by Richard Strauss
Performer:  Dietrich Fischer-Dieskau (Baritone), Lucia Popp (Soprano), Gabriele Fuchs (Soprano),
Adolf Dallapozza (Tenor), Gudrun Greindl-Rosner (Soprano), Karin Hautermann (Mezzo Soprano),
Martin Finke (Tenor), Raimund Grumbach (Baritone), Klaus Hirte (Baritone),
Jörn W. Wilsing (Baritone), Kurt Moll (Bass), Philipp Brammer (Spoken Vocals),
Erika Rüggeberg (Spoken Vocals), Elisabeth Woska (Spoken Vocals)
Conductor:  Wolfgang Sawallisch
Orchestra/Ensemble:  Bavarian Radio Symphony Orchestra
Period: Romantic 
Written: 1918-1923; Germany 
Date of Recording: 01/1980 
Venue:  Herkulessaal, Munich, Germany 
Length: 132 Minutes 44 Secs. 
Language: German 
Die Liebe der Danae, Op. 83 by Richard Strauss
Performer:  Annelies Kupper (Soprano), Paul Schöffler (Baritone), Josef Traxel (Tenor),
László Szemere (Baritone), Anny Felbermayer (Soprano), Joseph Gostic (Tenor),
August Jaresch (Tenor), Erich Majkut (Tenor), Harald Pröglhöf (),
Franz Bierbach (Bass), Dorothea Siebert (Soprano), Esther Réthy (),
Georgine von Milinkovic (Mezzo Soprano), Sieglinde Wagner (Alto)
Conductor:  Clemens Krauss
Orchestra/Ensemble:  Vienna State Opera Chorus,  Vienna Philharmonic Orchestra
Period: Romantic 
Written: 1938-1940; Germany 
Date of Recording: 08/14/1952 
Venue:  Live  Festival Playhouse, Salzburg, Austria 
Length: 164 Minutes 43 Secs. 
Language: German 
Der Rosenkavalier, Op. 59 by Richard Strauss
Performer:  Arleen Augér (Soprano), Helen Donath (Soprano), Herbert Lackner (Baritone),
Yvonne Minton (Mezzo Soprano), Freidrich Strack (Tenor), Murray Dickie (Tenor),
Luciano Pavarotti (Tenor), Otto Wiener (Bass), Adolf Tomaschek (Tenor),
Alexander Maly (Bass), Hans Pipal (Voice), Ingrid Mayr (Mezzo Soprano),
Karl Terkal (Tenor), Rohangiz Yachmi (Alto), Rosl Schwaiger (Soprano),
Anton Dermota (Tenor), Franz Setzer (Tenor), Régine Crespin (Soprano),
Nikolaus Simkowsky (Tenor), Emmy Loose (Mezzo Soprano), Anne Howells (Alto),
Manfred Jungwirth (Bass), Leo Heppe (Bass), Alfred Jerger (Bass),
Herbert Prikopa (Baritone), Hans Reautschigg (Tenor), Alasdair Malloy (Percussion),
Kurt Equiluz (Tenor)
Conductor:  Sir Georg Solti
Orchestra/Ensemble:  Vienna State Opera Chorus,  Vienna Philharmonic Orchestra
Period: Romantic 
Written: 1909-1910; Germany 
Date of Recording: 06/1968 
Venue:  Sofien Hall, Vienna, Austria 
Length: 199 Minutes 48 Secs. 
Language: German 
Salome, Op. 54 by Richard Strauss
Performer:  Klaus Lang (Bass), Cheryl Studer (Soprano), Leonie Rysanek (Soprano),
Horst Hiestermann (Tenor), Clemens Bieber (Tenor), Bryn Terfel (Baritone),
Marianne Rorholm (Mezzo Soprano), Uwe Peper (Tenor), Karl-Ernst Mercker (Tenor),
Warren Mok (Tenor), Aimée Willis (Mezzo Soprano), Peter Maus (Tenor),
Manfred Röhrl (Baritone), Friedrich Molsberger (Bass), Ralf Lukas (Tenor),
William Murray (Bass), Bengt Rundgren (Bass)
Conductor:  Giuseppe Sinopoli
Orchestra/Ensemble:  Berlin Deutsche Oper Orchestra
Period: Romantic 
Written: 1903-1905; Germany 
Date of Recording: 12/1990 
Venue:  Jesus Christus Kirche, Berlin 
Length: 101 Minutes 46 Secs. 
Language: German 
Lieder (4), Op. 27: no 1, Ruhe, meine Seele by Richard Strauss
Performer:  Jessye Norman (Soprano)
Conductor:  Kurt Masur
Orchestra/Ensemble:  Leipzig Gewandhaus Orchestra
Period: Romantic 
Written: 1894; Germany 
Date of Recording: 08/1982 
Venue:  Leipzig, Germany 
Length: 4 Minutes 24 Secs. 
Language: German 
Lieder (6), Op. 37: no 3, Meinem Kinde by Richard Strauss
Performer:  Jessye Norman (Soprano)
Conductor:  Kurt Masur
Orchestra/Ensemble:  Leipzig Gewandhaus Orchestra
Period: Romantic 
Written: 1897; Germany 
Date of Recording: 08/1982 
Venue:  Leipzig, Germany 
Length: 2 Minutes 38 Secs. 
Language: German 
Lieder (8), Op. 10: no 1, Zueignung by Richard Strauss
Performer:  Jessye Norman (Soprano)
Conductor:  Kurt Masur
Orchestra/Ensemble:  Leipzig Gewandhaus Orchestra
Period: Romantic 
Written: 1885; Germany 
Date of Recording: 08/1982 
Venue:  Leipzig, Germany 
Length: 1 Minutes 46 Secs. 
Language: German 
Lieder (5), Op. 41: no 1, Wiegenlied by Richard Strauss
Performer:  Jessye Norman (Soprano)
Conductor:  Kurt Masur
Orchestra/Ensemble:  Leipzig Gewandhaus Orchestra
Period: Romantic 
Written: 1899; Germany 
Date of Recording: 08/1982 
Venue:  Leipzig, Germany 
Length: 5 Minutes 10 Secs. 
Language: German 
Four Last Songs, AV 150 by Richard Strauss
Performer:  Jessye Norman (Soprano)
Conductor:  Kurt Masur
Orchestra/Ensemble:  Leipzig Gewandhaus Orchestra
Period: Romantic 
Written: 1948; Germany 
Date of Recording: 08/1982 
Venue:  Leipzig, Germany 
Length: 25 Minutes 8 Secs. 
Language: German 
Lieder (4), Op. 27: no 2, Cäcilie by Richard Strauss
Performer:  Jessye Norman (Soprano)
Conductor:  Kurt Masur
Orchestra/Ensemble:  Leipzig Gewandhaus Orchestra
Period: Romantic 
Written: 1894; Germany 
Date of Recording: 08/1982 
Venue:  Leipzig, Germany 
Length: 2 Minutes 12 Secs. 
Language: German 
Lieder (4), Op. 27: no 4, Morgen by Richard Strauss
Performer:  Jessye Norman (Soprano)
Conductor:  Kurt Masur
Orchestra/Ensemble:  Leipzig Gewandhaus Orchestra
Period: Romantic 
Written: 1894; Germany 
Date of Recording: 08/1982 
Venue:  Leipzig, Germany 
Length: 3 Minutes 55 Secs. 
Language: German 

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