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Strauss: Ein Heldenleben - 4 letzte Lieder
 
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Strauss: Ein Heldenleben - 4 letzte Lieder

2 Aug 2011 | Format: MP3

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Song Title Artist
Time
Popularity  
30
1
4:22
30
2
3:02
30
3
14:17
30
4
7:25
30
5
6:41
30
6
11:32
30
7
3:20
30
8
4:39
30
9
5:29
30
10
8:20

Product details

  • Original Release Date: 2 Aug 2011
  • Label: BIS
  • Copyright: (C) 2011 BIS
  • Total Length: 1:09:07
  • Genres:
  • ASIN: B005BYI8EK
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 176,508 in MP3 Albums (See Top 100 in MP3 Albums)

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Most Helpful Customer Reviews

7 of 7 people found the following review helpful By Adrian on 1 July 2011
Format: Audio CD
This latest issue of Yannick Nézet-Séguin and his Rotterdam Philharmonic Orchestra underlines once again what a gifted conductor he is and how he is able to shape an orchestra and tackle major repertoire with apparent ease showing nonetheless deep insight in these demanding works. We are grateful for BIS having put it on record. Nothing in the playing reflects the dark clouds hanging over the future of this orchestra due to imminent deep cuts in government funding. On the contrary, it rather looks as though they, inspired by the youthful energy of their new Chef Québecois (since 2008 Valery Giergiev's successor at the helm of the Rotterdam Philharmonic), want to give the best of themselves and hence to the audience. To paraphrase an old saying: the more difficult the going gets the better the results are. The program on this disk is a well-chosen combination of Strauss' life as a `hero' and the premonition of his death in the final of his four last songs `Im Abendrot'.
There still remains some doubt as to whom the hero in `Ein Heldenleben' is. In a letter to his father Strauss leaves it open: `I am supposed to be the hero myself, which is, however, only partly correct'. It would seem that Strauss did project himself in the role of the hero realizing, however, the amount of wishful thinking involved. All too human! (Think of politicians writing their `memoires'). This being `programme' music, i.e. telling a story with notes rather than words, it is up to the interpreters to get the message across to the audience. Well, Nézet-Séguin reveals himself as an excellent story teller. We can almost `see' and `feel' the moods of the Hero in all its detail, giving preference to colouring, clear textures and articulate phrasing over heaviness and drama.
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