I have always adored Janowitz voice ever since hearing her as Sieglinde in Karajan's Ring. Decades ago I was overjoyed to hear her in Figaro at Salzburg although visually a Donna Anna 5 months pregnant was somewhat offputting! Her Four Last Songs are divine. I just wish the Margaret Price concert with Sawallisch and an Italian orchestra had been recorded. It is available on youtube and she sings the work wonderfully even though the sound quality is not great.
Nobody could even attempt to argue against your choice of "References" Dave. I have them all, and like you and many others it appears, was bowled over by the Jessye Norman recording. God, what a luxurious, richly upholstered voice that woman had. Oddly enough, despite there being three reference recordings of artistic excellence, I find myself listening more and more to the Lisa Della Casa recording; she's not as vocally stunning as Schwarzkopf, Janowitz, or Norman, but she somehow seems so full of light, so right for the piece. Then again, that's a personal preference, not a reference. Thanks again for a wonderful video Dave, and take care!
Great choices, but if I had to choose only one, if would absolutely be Janowitz/Karajan. And....I'm not really much of a Karajan fan. But the angelic voice of Janowitz just carries me to another dimension.
My own personal favorite among the three recordings is that with Jessye Norman. Her dynamic range, pitch-perfect intonation, and flawless command of phrasing in this, as in almost all her recordings, set her truly apart as one of the greatest sopranos ever. Her rendition of the Strauss is truly in a league of its own.
This is a just a wonderful classical music channel. Seriously. It's brought me to an appreciation of so many recordings I might otherwise have missed out on.... Thank you so very...as in 'v e r y' much for all the work and experience, the honesty and the integrity you put into it Dave.... Simon. Eastbourne, England, UK
One of the first CDs I bought - the Jessye Norman's version. By that time - a FM station in Rio de Janeiro had a 3 hours classical music program every night - with a printed program of the month music distributed free at CD stores. And then I felt in love with this performance - which is played some time on radio. And I did not have the text for many many years - no internet - no books...
Have owned or still own all of them; there was a time when the Janovitz-Karajan recording was my late night listening for months. And I never tired of it and I don’t now. the four last songs are my favorite classical music based on how often I actually listen to them! My go to pleasure these days and Isokoski.
@@pianoronald have you heard her recordings of Versi, the hymns of the Evangelical Church ( Lutheran)? They are sublime and, I think, the very model of how a classically trained singer ought to sing non-classical, religious music-as you mentioned “ unaffected “.
Those are the 3 references for sure. Supplement with others like della Casa/Bohm or Isokoski/Janowski; but then the Four Last are so beautiful you can have 20 and still want more.
This is the video I've been waiting for; with baited breath for the ONE. However, it makes absolute sense that there are three. Each one was rightly lauded in their day and continue to be lauded. They're all stunning. You're quite right in that opera and lieder people are nuts. We love our Divas, that's for sure. For me it's a tie, and for different reasons: Schwarzkopf and Norman. One demonstrating a lifetime of experience and one ascending the Heavens in one long breath.
I’ve so been looking forward to this video. I knew the reference would be one of these three, but couldn’t decide on which one I thought you would pick. So glad the correct answer is: all three!
Great video which reflects how well you have gone from choosing the 'best' to choosing the 3 'reference' recordings. Thank you for sharing. I enjoy all three as well. Schwarzkopf is sincere I find and her timbre captures a certain sadness or resignation , a bit like an audible teardop Janowitz is sublime , soaring effortlessly she takes us to heaven. Norman has incredible warmth alongside the vocal richness. Among the many recordings I regret that we only have live recordings from Flagstad and Steber in the twilight years of their careers, as both could have left us something special in this music I think in their vocal prime. Flagstad having given the first performance in the UK at the request of Strauss and Steber just a splendid Strauss singer from Sophie to the Marschallin and Arabella. Sadly it is hard to stop the march of time, even if the Marscallin wanted to give it a try!
In a perfect world, we would get Jessye Norman performing this with George Szell. Jessye has the best voice and Szell conducts the best orchestral performance.
Lisa della Casa was my introduction to the songs, so I have a soft spot for her fresh voice. I have all the other recordings. While I sometimes feel that Jessye Norman's voice is perhaps a bit too voluptuous for this autumnal cycle, the sound is utterly gorgeous - especially in Beim Schlafengehen - so remains my favourite.
I've got them all. I'm so glad you mention the earlier Schwarzkopf recording. Her voice sounds richer and stronger than the later version and comes over really well on the original LP. Ackermann conducts with appropriate sensitivity and I prefer this earlier recording to the later one.
@@bwpm1467 Dave mentioned her as his personal favorite in his reply to another comment. He didn't spell it right either. I don't think it's pedantic to note it, considering the fact that her name appears prominently in the places I indicated. Oddly, Dave spelled it correctly in his Dave's Faves No. 104.
There is no question in my mind what the reference recording of Strauss's Four Last Songs is: the 1950 world premiere performance with Kirsten Flagstad (Strauss's personal deathbed choice) and the Philharmonia under Wilhelm Furtwängler. Unfortunately, even though the recording was professionally produced by Walter Legge, the only copies that exist are in truly awful sound, crudely dubbed from the private pressing for the Maharajah of Mysore (who underwrote the concert). But Flagstad and Furtwängler brought more emotion and soul to this music than anyone since.
The Schwarzkopf/Szell was my introduction to this glorious work and maybe because of this it remains my no1 favourite. Norman has a more beautiful voice but for me it doesn’t surpass the former. As a side note, there was a TH-cam video of Christine Brewer and Belohlavek/BBCSO and her singing is really beautiful.
Personal relationship to the singers??? “Le vedove di Callas” (Callas’ Widows) at La Scala were insane. La Traviata had not been staged in 25+ years at La Scala because of these harpies. Muti finally conducted a new production in the early 90s with Tiziana Fabriccini. Norman’s crescendo in song 3, Beim Schlafegehen , is possibly the most thrilling EVER committed to disc. I also enjoy Schwarzkopf’s , however, with OTTO ACKERMANN . That’s just me.
@@bwpm1467 Absolutely not. Yes, it is very slow, but not too slow. It would be too slow if the articulation of the text suffered as a result, but as a German I can assure you that this is not the case.
I thought the same thing for a long time, until I heard Korstick play the Adagio of the Hammerklavier Sonata for about half an hour... 😂 @@stefanandressohn8448
Dead-on with your choices, and I say that as one of those crazy people who has a million of these. The Norman is indeed unique and distinctively opulent. One of my other faves (not meaning to say “reference”) is that incredible one with Solie Isokoski, more in the Schwarzkopf mold. I love them all!
Dave, I would like to submit a 4 Letzte Lieder for the early 21st century that is the very definition of a “keeper” : Lise Davidsen with the Philharmonia Orchestra , Salonen conducting. A quick caveat, i have it as a download, so am not getting the vocal colour that Levine discuses (because of compressed bandwidth?) Am ordering the DECCA CD. I’d totally forgotten about this release. I listened to it again BEFORE reading CT’s Levine review. What can I say….i …i attained nirvana. The power of her instrument, the utterly gorgeous playing Salonen elicits from the Philharmonia…just read Levine’s review, he never gets it wrong. He says it way better than I ever could . I think it’s a reference recording, but defer to Levine’s 9/9 rating. Plus, there are few more Strauss orchestral songs, Ariadne’s aria and Elisabeth’s Act 2 & 3 arias. This album is a sustained sonic orgasm, an analogy some might view as a breach of taste, but in this instance so apt.
The issue on Norman”s recording re texts was they couldn’t get permission to print Hermann Hesse’s ie. the first 3 songs. I just checked my copy. There’s only an English translation of the last song Im Abendrot.
@@DavesClassicalGuide who knows? Actually, Phillips knows. Copyright? The author’s estate? Remember this was pre- WWW. Anyone who was buying this work for the first time didn’t have the luxury of google .
@@DavesClassicalGuidemoreover Dave, I cannot begin to imagine listening without full translations of the Hesse texts. I was in my mid-20s at the time of its release, at which point these songs had been in my life at least 10 years. What gives indeed!
The composer Andrew Rudin -- whose music is entirely too little known -- once asked me if I had heard 4 LAST SONGS. I had not, and I still haven't. I told him I didn't care for lieder. He replied that it didn't matter, I would be converted by 4 LAST SONGS. And so now I shall surely, finally, all these years later, take the plunge, and I shall do so with your reference recording -- Jessye Norman/Kurt Masur. Then I will see.
As great as the Schwarzkopf version is, her transposing of the “Frühling” song a step down from the original key always annoyed me. My cross to bear. 😄
Fabulous vocal colours & word pointing by Schwarzkopf, although a touch past her prime by 68 (there was on TH-cam recently a live performance with Kertesz & the Berlin Philharmonic from around the same time in which she was in better voice); Janowitz is dreamy creamy, following very much Karajan's aesthetic , but you'll listen in vain for a consonant; Norman a bigger voice but I find that Masur drags a bit. All 3 are wonderful but I hope for a big Wagnerian voice in its prime, with Schwarzkopf's insight. I heard Nilsson sing them. The voice type I'm sure Strauss had in mind (Flagstad was their dedicatee) but she provided no real interpretation...
If tempi are the yardstick, Szell/Scwarzkopf get it absolutely right. Consider the differences in the three reference recordings notably the last two songs. Szell/Schwarzkopf take 5.26 and 8.27; Karajan/Janowitz 6.18 and 7.06; Masur/Norman 6.05 and 9.53. Luscious though the orchestration is, I don't think Im Abendrot needs nearly 10 minutes, it is deathly.
I understand your point and note you have often been generous - too generous?- in your reviews with conductors opting for slow tempi when you think it fits the interpretation, and I accept that personal taste is not the criterion in reference recordings, but I do find Norman/Masur so slow it undermines my enjoyment .
it's a reference for a reason, and I used to love it unreservedly, but I struggle with the Karajan/Janowitz recordings these days. It's like chugging maple syrup.
![[LIVE] : ONE ลุมพินี 88 | คู่เอก "ป้อมเพชร vs อัสลามจอน"](http://i.ytimg.com/vi/1ZqTVVbMgbo/mqdefault.jpg)
I have always adored Janowitz voice ever since hearing her as Sieglinde in Karajan's Ring. Decades ago I was overjoyed to hear her in Figaro at Salzburg although visually a Donna Anna 5 months pregnant was somewhat offputting! Her Four Last Songs are divine. I just wish the Margaret Price concert with Sawallisch and an Italian orchestra had been recorded. It is available on youtube and she sings the work wonderfully even though the sound quality is not great.
Nobody could even attempt to argue against your choice of "References" Dave. I have them all, and like you and many others it appears, was bowled over by the Jessye Norman recording. God, what a luxurious, richly upholstered voice that woman had. Oddly enough, despite there being three reference recordings of artistic excellence, I find myself listening more and more to the Lisa Della Casa recording; she's not as vocally stunning as Schwarzkopf, Janowitz, or Norman, but she somehow seems so full of light, so right for the piece. Then again, that's a personal preference, not a reference. Thanks again for a wonderful video Dave, and take care!
Great choices, but if I had to choose only one, if would absolutely be Janowitz/Karajan. And....I'm not really much of a Karajan fan. But the angelic voice of Janowitz just carries me to another dimension.
My own personal favorite among the three recordings is that with Jessye Norman. Her dynamic range, pitch-perfect intonation, and flawless command of phrasing in this, as in almost all her recordings, set her truly apart as one of the greatest sopranos ever. Her rendition of the Strauss is truly in a league of its own.
This is a just a wonderful classical music channel. Seriously.
It's brought me to an appreciation of so many recordings I might otherwise have missed out on....
Thank you so very...as in 'v e r y' much for all the work and experience, the honesty and the integrity you put into it Dave....
Simon. Eastbourne, England, UK
Thanks for listening!
Jessye Norman‘s recording is so iconic. And Arleen Auger’s recording with Previn stands out for me as well. Truly angelic singing.
One of the first CDs I bought - the Jessye Norman's version. By that time - a FM station in Rio de Janeiro had a 3 hours classical music program every night - with a printed program of the month music distributed free at CD stores. And then I felt in love with this performance - which is played some time on radio. And I did not have the text for many many years - no internet - no books...
Have owned or still own all of them; there was a time when the Janovitz-Karajan recording was my late night listening for months. And I never tired of it and I don’t now. the four last songs are my favorite classical music based on how often I actually listen to them! My go to pleasure these days and Isokoski.
Should read Norman and Isokoski! Voice text can be treacherous
So glad you mentioned Isokoski! Her recording is my favourite version! So lovely and unaffected!
@@pianoronald have you heard her recordings of Versi, the hymns of the Evangelical Church ( Lutheran)? They are sublime and, I think, the very model of how a classically trained singer ought to sing non-classical, religious music-as you mentioned “ unaffected “.
A line up of reference recordings. Each one for different reasons. My heart is at home with Jessie Norman
Those are the 3 references for sure. Supplement with others like della Casa/Bohm or Isokoski/Janowski; but then the Four Last are so beautiful you can have 20 and still want more.
This is the video I've been waiting for; with baited breath for the ONE. However, it makes absolute sense that there are three. Each one was rightly lauded in their day and continue to be lauded. They're all stunning. You're quite right in that opera and lieder people are nuts. We love our Divas, that's for sure. For me it's a tie, and for different reasons: Schwarzkopf and Norman. One demonstrating a lifetime of experience and one ascending the Heavens in one long breath.
I’ve so been looking forward to this video. I knew the reference would be one of these three, but couldn’t decide on which one I thought you would pick. So glad the correct answer is: all three!
Great video which reflects how well you have gone from choosing the 'best' to choosing the 3 'reference' recordings. Thank you for sharing. I enjoy all three as well.
Schwarzkopf is sincere I find and her timbre captures a certain sadness or resignation , a bit like an audible teardop Janowitz is sublime , soaring effortlessly she takes us to heaven.
Norman has incredible warmth alongside the vocal richness.
Among the many recordings I regret that we only have live recordings from Flagstad and Steber in the twilight years of their careers, as both could have left us something special in this music I think in their vocal prime. Flagstad having given the first performance in the UK at the request of Strauss and Steber just a splendid Strauss singer from Sophie to the Marschallin and Arabella. Sadly it is hard to stop the march of time, even if the Marscallin wanted to give it a try!
In a perfect world, we would get Jessye Norman performing this with George Szell. Jessye has the best voice and Szell conducts the best orchestral performance.
Lisa della Casa was my introduction to the songs, so I have a soft spot for her fresh voice. I have all the other recordings. While I sometimes feel that Jessye Norman's voice is perhaps a bit too voluptuous for this autumnal cycle, the sound is utterly gorgeous - especially in Beim Schlafengehen - so remains my favourite.
Lisa della Casa: yes. I have my parents’ 1961 Decca recording. Vienna Phil with Karl Böhm.
I've got them all. I'm so glad you mention the earlier Schwarzkopf recording. Her voice sounds richer and stronger than the later version and comes over really well on the original LP. Ackermann conducts with appropriate sensitivity and I prefer this earlier recording to the later one.
And, as a horn player, I value the Ackerman version because the horn solos are by Dennis Brain‼️I too have and treasure all three‼️Plus Isokoski‼️
She was 53 when the Szell recording was made
I have all of these, and the Szell on vinyl, but I agree that Isikoski's performance is the most beautiful.
Isokowski, you mean? Dave didn't mention this here. Are you getting confused with Janowitz?
It's spelled Isokoski on her album covers and her Ondine artist profile.
@leestamm3187 OK, great, but either way, Dave didn't mention her.
@@bwpm1467 Dave mentioned her as his personal favorite in his reply to another comment. He didn't spell it right either. I don't think it's pedantic to note it, considering the fact that her name appears prominently in the places I indicated. Oddly, Dave spelled it correctly in his Dave's Faves No. 104.
Isokoski is the correct spelling. And her version is the most beautiful one for me.
There is no question in my mind what the reference recording of Strauss's Four Last Songs is: the 1950 world premiere performance with Kirsten Flagstad (Strauss's personal deathbed choice) and the Philharmonia under Wilhelm Furtwängler. Unfortunately, even though the recording was professionally produced by Walter Legge, the only copies that exist are in truly awful sound, crudely dubbed from the private pressing for the Maharajah of Mysore (who underwrote the concert). But Flagstad and Furtwängler brought more emotion and soul to this music than anyone since.
So sad we do not have this in acceptable sound but great to have the songs sung with a truly big Wagnerian voice. Very different but rather wonderful.
The Schwarzkopf/Szell was my introduction to this glorious work and maybe because of this it remains my no1 favourite. Norman has a more beautiful voice but for me it doesn’t surpass the former. As a side note, there was a TH-cam video of Christine Brewer and Belohlavek/BBCSO and her singing is really beautiful.
Personal relationship to the singers??? “Le vedove di Callas” (Callas’ Widows) at La Scala were insane. La Traviata had not been staged in 25+ years at La Scala because of these harpies. Muti finally conducted a new production in the early 90s with Tiziana Fabriccini. Norman’s crescendo in song 3, Beim Schlafegehen , is possibly the most thrilling EVER committed to disc. I also enjoy Schwarzkopf’s , however, with OTTO ACKERMANN . That’s just me.
Yes. These are the references. Outside the realm of discussion, for my own personal purposes of pleasure/recreation, I use Te Kanawa/Davis.
Nothing to disagree. 3 of 3! All of them are amazingly beautiful, but Normans Im Abendrot is simply unreal. ❤
Far too slow, you mean?
It can't be slow enough
@@stefanandressohn8448 Absolutely every movement of every work can be too slow. Ridiculous statement.
@@bwpm1467 Absolutely not. Yes, it is very slow, but not too slow. It would be too slow if the articulation of the text suffered as a result, but as a German I can assure you that this is not the case.
I thought the same thing for a long time, until I heard Korstick play the Adagio of the Hammerklavier Sonata for about half an hour... 😂 @@stefanandressohn8448
Dead-on with your choices, and I say that as one of those crazy people who has a million of these. The Norman is indeed unique and distinctively opulent. One of my other faves (not meaning to say “reference”) is that incredible one with Solie Isokoski, more in the Schwarzkopf mold. I love them all!
Isokowski is my personal favorite too.
Dave, I would like to submit a 4 Letzte Lieder for the early 21st century that is the very definition of a “keeper” : Lise Davidsen with the Philharmonia Orchestra , Salonen conducting. A quick caveat, i have it as a download, so am not getting the vocal colour that Levine discuses (because of compressed bandwidth?) Am ordering the DECCA CD. I’d totally forgotten about this release. I listened to it again BEFORE reading CT’s Levine review. What can I say….i …i attained nirvana. The power of her instrument, the utterly gorgeous playing Salonen elicits from the Philharmonia…just read Levine’s review, he never gets it wrong. He says it way better than I ever could . I think it’s a reference recording, but defer to Levine’s 9/9 rating. Plus, there are few more Strauss orchestral songs, Ariadne’s aria and Elisabeth’s Act 2 & 3 arias. This album is a sustained sonic orgasm, an analogy some might view as a breach of taste, but in this instance so apt.
Wow, I have all three! Also had the Te Kanawa/Davis LP (RIP, Sir Andrew!). Prefer the Norman above the rest, but the other two come in close.
I can’t agree more.
The issue on Norman”s recording re texts was they couldn’t get permission to print Hermann Hesse’s ie. the first 3 songs. I just checked my copy. There’s only an English translation of the last song Im Abendrot.
Except that every other label in history had no problem. So what gives?
@@DavesClassicalGuide who knows? Actually, Phillips knows. Copyright? The author’s estate? Remember this was pre- WWW. Anyone who was buying this work for the first time didn’t have the luxury of google .
@@DavesClassicalGuidemoreover Dave, I cannot begin to imagine listening without full translations of the Hesse texts. I was in my mid-20s at the time of its release, at which point these songs had been in my life at least 10 years. What gives indeed!
The composer Andrew Rudin -- whose music is entirely too little known -- once asked me if I had heard 4 LAST SONGS. I had not, and I still haven't. I told him I didn't care for lieder. He replied that it didn't matter, I would be converted by 4 LAST SONGS. And so now I shall surely, finally, all these years later, take the plunge, and I shall do so with your reference recording -- Jessye Norman/Kurt Masur. Then I will see.
As great as the Schwarzkopf version is, her transposing of the “Frühling” song a step down from the original key always annoyed me. My cross to bear. 😄
As much as I love these recordings, I must say I prefer Lucia Popp with Tennstedt. What is your view on her recording ?
Many love Popp, so I understand your choice. She's not one of my favorites.
@@DavesClassicalGuide Fair enough. The human voice is so unique, some really grab you but others don’t. Lucia does for me.
Fabulous vocal colours & word pointing by Schwarzkopf, although a touch past her prime by 68 (there was on TH-cam recently a live performance with Kertesz & the Berlin Philharmonic from around the same time in which she was in better voice); Janowitz is dreamy creamy, following very much Karajan's aesthetic , but you'll listen in vain for a consonant; Norman a bigger voice but I find that Masur drags a bit. All 3 are wonderful but I hope for a big Wagnerian voice in its prime, with Schwarzkopf's insight. I heard Nilsson sing them. The voice type I'm sure Strauss had in mind (Flagstad was their dedicatee) but she provided no real interpretation...
If tempi are the yardstick, Szell/Scwarzkopf get it absolutely right. Consider the differences in the three reference recordings notably the last two songs. Szell/Schwarzkopf take 5.26 and 8.27; Karajan/Janowitz 6.18 and 7.06; Masur/Norman 6.05 and 9.53. Luscious though the orchestration is, I don't think Im Abendrot needs nearly 10 minutes, it is deathly.
Nonsense. Tempi aren't the yardstick and never should be.
I understand your point and note you have often been generous - too generous?- in your reviews with conductors opting for slow tempi when you think it fits the interpretation, and I accept that personal taste is not the criterion in reference recordings, but I do find Norman/Masur so slow it undermines my enjoyment .
All agree but no mention of Lise Davidsen?
Why? She's not a reference recording.
it's a reference for a reason, and I used to love it unreservedly, but I struggle with the Karajan/Janowitz recordings these days. It's like chugging maple syrup.
Ew