Soprano Diana Damrau specializes in the German post-Romantics, and this is not even her first Richard Strauss recital. There is, however, little overlap between this and 2011's Poésie, and there's an attractive quality of wrestling with the material to both releases. Damrau is a psychologically penetrating singer whose interpretations stick with even the listener who might have preferred a different direction. One of her vocal trademarks is a sharp, knife's-edge sound in her upper register, and whether that works in the ...
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Soprano Diana Damrau specializes in the German post-Romantics, and this is not even her first Richard Strauss recital. There is, however, little overlap between this and 2011's Poésie, and there's an attractive quality of wrestling with the material to both releases. Damrau is a psychologically penetrating singer whose interpretations stick with even the listener who might have preferred a different direction. One of her vocal trademarks is a sharp, knife's-edge sound in her upper register, and whether that works in the valedictory Vier letzte Lieder is open to debate, but the magnificent slow sweep of these works comes through. Damrau may be unmatched in the Drei Lieder der Ophelia, Op. 67, of 1918, with her uncanny mixture of madness and absolutely clear psychological motivation. Also included are a variety of other songs from various phases of Strauss' career, all of them, except for the Vier letzte Lieder, the Ophelia songs, and the Mädchenblumen, Op. 22 (1888), taken singly and explored as such....
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