Wagner: Walkure/Strauss: Elektra, Salome

Editorial Reviews
Album Details
It is above all with the Great Wagner and Strauss Heroines that the Dramatic Soprano Janice Baird Has Made the Leap Into International Opera Houses.

Tracks:

Wagner: Tannhauser - "Dich, teure Halle" (Elisabeth's Aria from Act 2, Scene 1)
Wagner: Die Walkure - "Du bist der Lenz" (Sieglinde's scene from Act 1, Scene 3)
Wagner: Die Walkure - "Der Manner Sippe" (Sieglinde's scene from Act 1, Scene 3)
Wagner: Tristan und Isolde - "Weh', ach wehe dies zu dulden" (Isolde's Curse and Narration from Act 1, Scene 3) with Natascha Petrinsky
Wagner: Tristan und Isolde - "Mild und leise" (Isolde's Liebestod from Act 3, Scene 3)
R. Strauss: Elektra - "Ich kann nicht sitzen" (Chrysothemis's scene) with Natascha Petrinsky
R. Strauss: Ariadne auf Naxos - "Es gibt ein Reich" (Ariadne's scene)
R. Strauss: Die Frau ohne Schatten - "Ist mein liebster dahin" (Kaiserin's opening scene, Act 1)
R. Strauss: Die Frau ohne Schatten - "Wehe mein Mann" (Kaiserin's opening scene, Act 2)
R. Strauss: Salome - "Es ist kein Laut zu vernehmen" (Salome's final scene)

Amazon.com

Here the beautiful-voiced Deborah Voigt tackles music her sound is made for: big, powerful moments from works of Richard Strauss and Richard Wagner. All 10 selections are handsomely sung, with gleaming, even tone, and some are true standouts. Elisabeth's Greeting from Tannhaeuser is sort of matter-of-fact, but both of Sieglinde's solos from Walküre are filled with urgency and depth and seem to be happening in real time. Ariadne's monolog is suitably ethereal and fantastic (in the true sense of the word) and the "chunks" from Die Frau ohne Schatten and Chrysothemis's monolog from Elektra, though weird out of context, are vocal showpieces. Her Isolde is nuanced and potent, if without the ultimate rage in the Narrative and Curse or the heavenly transfiguration of the Liebestod, and the final scene of Salome, ravishingly sung, does not quite probe this character's berserk Freudian issues. But she's a remarkable singer and this CD is sure to delight; one can bathe in her warm, rich sound. --Robert Levine

Customer Reviews:

The Opera ain't over.............2007-06-18

This review is kind of dated; since this album was released, the fat lady had lost a bunch of weight. Miss Voigt got some unfortunate publicity a couple of years ago when Covent Garden paid off her contract, and fired her due to her excess poundage. I don't question their right to do that, but I do question the sanity of anyone who fires the greatest Wagnerian of our day. That event triggered her big weight loss, and she's back at Covent Garden. What do audiences want? Every High School has plenty of girls who look great in skimpy costumes, but, can they sing this music? Please...great Wagner singers are MUCH rarer than great heart surgeons. Flagstad wasn't anything to look at, and Schumann-Heink was massive, BUT, they could do justice to Wagner. Helen Traubel? There are exceptions to everything.

This is a truly wonderful album...Wagner and Strauss did not write for weaklings. Miss Voigt makes Sieglinde and Isolde come alive; her voice is both massive and beautiful. What we have here is 68 minutes of the finest singing of really tough music available in our day. The "Tristan und Isolde" excerpts are alone worth the price, but the whole recording is a joy.

A Wonderful Wagner and Strauss Recital.......2007-04-04

When I first heard this CD, I didn't think much of Deborah Voigt since I had heard her during her earlier days singing Mathilde in Rossini's Gugliemo Tell with the conductor Evelino Pido. Her timbre at that time was so creamy and rich and beautiful, and as I heard her over the years, I noticed that the qualities that made her such a promising singer in that Tell were not present in this recording. I also heard her do some Verdi roles in the Met, parts that were obviously not suited to her cooler, Germanic sound. A few days ago, after listening to a broadcast of her spectacular Salome from Chicago last fall and her recent Agyptische Helena from the Met, I have to say that I have never been more amazed by this soprano.

Of course, Voigt is no Nilsson, but who else was? I don't think Inge Borkh, Gwyneth Jones, Ursula Schröder-Feinen, Leonie Rysanek, or Hildegard Behrens ever equalled the great Swede in terms of power and focus, and neither will Voigt. But what Voigt has that Nilsson does not is a warmth and a grain to her voice, making Voigt's portrayals of her heroines sound more human than godlike compared to the stentorian Brünnhilde. Voigt's Sieglinde, Ariadne, Elisabeth, Isolde, Salome, Kaiserin, and Chrysothemis are all magnificent characterizations with a human, womanly touch to them. This recital allows the listener to hear showpieces that reflect her talent as a German dramatic soprano, and the listener is immediately drawn by the care to which Voigt lavishes on these selections. Dich Teure Halle is sung with the bright, happy, pure sound one associates with Elisabeth, and if it not a personalized portrayal of the heroine, it certainly is a perfectly sung one. Of the two selections from Die Walküre, Der Männer Sippe is sung with urgent drive, showing us once again that Deborah is the best Sieglinde of our day. She sings Du Bist der Lenz with rapture and beauty, and one would have hoped that she could have partnered Ben Heppner or Domingo to finish the remainder of Act I in this CD. The selections from Tristan are sung with vocal opulence that reminds us how Voigt is quickly becoming one of the best Isoldes today. The Narration from Act I is sung like a powerhouse of rage and sarcasm, and the Liebestod is perfectly sung, albeit lacking that sense of apotheosis that characterized Nilsson and Flagstad in their singing of the part. Although these excerpts were Voigt's starting forays into Isolde, she already shows security and intelligence in this cornerstone of the dramatic soprano repertoire.

The next half of the recital shows Voigt's talents in the Straussian roles where her voice is put to its best use. Unlike the Wagner selections, these Straussian excerpts don't seem to lend as well to cutting, but they nonetheless give the listener an idea of Voigt's mastery of the Straussian idiom. Her large, creamy, grainy voice is ideal for Chrysothemis, and I have never heard Ariadne sung better in these recent years. Voigt is easily the equal of Rysanek as the empress, the steely sheen of her voice perfect for the luminscent character of the Kaiserin. She closes the recital with the final scene from Salome, a selection that shows Voigt's exploration of another dramatic role that she assumed to great acclaim last fall in Chicago. All in all, a great recital, and one would only hope that she had been partnered by a more sensitive conductor like Christian Thielemann.

Absolutely Smitten!.......2005-12-30

Generally, I dislike the "new crop" of singers. It's rare, if ever, that I find a singer that can rival the singers of the Golden era. On this album, however, Deborah Voigt does exactly that. This album is a perfect showpiece for how absolutely SOLID the voice is from absolute tip-top to the very depths of her chest voice. In the rarely performed excerpts from Die Frau Ohne Schatten, Voigt tackles the extremely high tessitura effortlessly, pouring forth walls of sound. The rest of the album, from Es Gibt Ein Reich to Du bist der Lenz, follows in the same vein. The tone is always golden, gorgeous, and shining. The top has just enough metal in it to ride the orchestra, but not overly much.

The listener certainly gets the distinct impression that Madame Voigt could sing like this for an eternity, and heaven knows I wanted her to! She wields her voice like a spear; shining and golden. There is a homogenous quality to the voice that is unrivalled by most of her contemporaries. Deborah Voigt sings like a force of nature; I got the impression that she could even overpower the orchestra, if she so chose. That type of singing, uneffected and gorgeous, is certainly exciting no matter what the case.

Not since Birgit Nilsson have I heard such a huge, solid instrument. Certainly Nilsson has some advantages over Voigt; namely experience. If Voigt keeps heading in the inimitable direction she is making for herself, she is destined to be one of the very greatest sopranos of this century.

Brava Madame Voigt!

Divine Deborah.......2005-12-24

Deborah Voigt is perhaps today's newes Eileen Farrell. Like Farrell, she's unabashedly American, doesn't care for the spotlight or the "diva" lifestyle and has a voice that is beautiful, huge, steely and dramatically satisfying. Debora Voight is, sadly, underrated, like Farrell was in her own time (the 60's and 70's). It is possible that Renee Fleming albums sell more than Voigt albums. But I really think she is a dynamic singer and this album is her best showcase. With a voice that is stronger and more dramatic than the light-toned Fleming, Voigt excells in such roles as Aida, Ariadne, Brunhilde, Tosca and other heavy lyric roles. She is a masterful singer of the Strauss and Wagner repertoire. Especially noteworthy is her renditions of Elisabeth's "Hall Aria" from Tannhauser. This aria has not been recorded in quite a long while and Voight joins such great Wagnerian divas as Kirsten Flagstad and Birgit Nilsson as possibly the greatest Wagnerian sopranos. Her Brunhilde from Die Walkure is a revelation, especially how she sings "Du Bist der Lenz" and "Der Manner Sippe". Such beauty and power! The same beautiful and fearsome power is given to Isolde's Invective "Curse" Aria "We Ach Wehe". In contrast, she softens her voice to the beautiful strains of the Liebestod, full of passion and romantic euphoria. Her Elektra is phenomenal, and here we are treated to Chrysothemis' Scene. It was the opera Ariadne of Naxos at London's Covent Garden where Voigt was slighted because "she was too fat" for the costumes that the art director had in mind. Well, BS! Voigt has a great voice and makes a fine Ariadne, surpassing even Jessye Norman in modern recording. And her Salome is to die for. The Final Scene, in which Salome rhaposidizes her necrophilic feelings for John the Baptist, is terrifying in its power. No doubt she is the best American soprano of our time.

RECOMMENDED FOR WAGNER OR STRAUSS BEGINNERS.......2004-12-14

One word: Awesome! this is a must have. The selection of arias is great, specially Walkure, Tannhauser (Dich teure halle!!) and the Liebestod of Isolde. The final scene of Salome is the highlight of this cd. TNo wonder is one of the best classical cds of the year. 5 stars! Recommended!!

Birgit Nilsson Sings Richard Wagner & Richard Strauss

Average customer rating:

The whole career of one of the greatest singers of all time
Birgit Sings Like Sweetness
A Document In The Grand Career Of Birgit Nilsson (1918-2005)
Great

Birgit Nilsson Sings Richard Wagner & Richard Strauss

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Birgit Nilsson: Opera Arias
Or sai chi l'onore: Opernarien von Mozart, Weber, Wagner, Strauss
Nilsson Sings Verdi
Wagner: Opera Arias & Duets
Prima Voce: Flagstad

ASIN: B000001XNS
Release Date: 2000-06-06

Tracks:

Ariadne auf Naxos: Es Ist alles vergebens - Es gibt ein Reich
Salome: Es ist kein Laut zu vernehmen
Salome: Ah! du wolltest mich nicht deinen Mund kussen lassen, Jochanaan
Salome: Sie ist ein Ungeheuer, deine Tochter
Salome: Ah! Ich habe deinen Mund gekusst, Jochanaan
Elektra: Was willst du, Fremder Mensch?
Die Fau Ohne Schatten: Es dunkelt, dass ich nicht sehe zur Arbeit
Die Fau Ohne Schatten: Es gibt derer, Die bleiben immer gelassen Abtu ich von meinem Leibe die Kinder
Die Fau Ohne Schatten: Die Weib ist irre - Barak, ich hab es nicht getan
Tannhauser: Dich, teure Halle
Lohengrin: Euch Luften, die mein Klagen
Lohengrin: Elsa!-Wer Ruft?
Lohengrin: Ortrud, wo bist du?

Tracks:

Tristan und Isolde: Horst du sie noch?
Tristan und Isolde: Mild und leise wie er lachelt
Die Walkure: Schlafst du, Gast?
Die Walkure: Wintersturme wichen dem Wonnemond
Die Walkure: De bist der Lenz
Die Walkure: O susseste Wonne! Seligstes Weib!
Die Walkure: Siegmund heiss ich und Siegmund bin ich!
Siegfried: Ewig war ich, ewig bin ich
Gotterdammerung: Schweigt eures Jammers jauchzenden Schwall
Gotterdammerung: Starke Scheite, Schichtet mir dort

Customer Reviews:

The whole career of one of the greatest singers of all time.......2007-01-14

I could nor beleive my eyes when I saw the price of this recording. It covers the whole career of the greatest Wagner and Strauss singer in the last half of the 20th Century. I think the whole performance of Ariadne of Naxos allurs in the archives of the Swedish Broadcasting company - a release, please!
When the news arrived that La Nilsson hade died in her home, surrounded by family members and near friends, on Christmas Day 2005 (kidneys not functioning, and no more dialysis possible) - we at once underrstand her uniquiness - there was nobody there to take over the helm and shield....It is quite wonderful that this eextensive compilation was published just recently. It is a very worthy portrait of a blessed singer!

Birgit Sings Like Sweetness.......2007-01-08

This is the first time I had heard Birgit Nilsson sing. The CD was great. However, I did have to blast the music because it is the original recording on the CD. Besides the quality it is worth purchasing if you want to hear one of the best. Her voice is clear and sweet, and welcoming to the ears.

A Document In The Grand Career Of Birgit Nilsson (1918-2005).......2006-03-23

The great soprano from Sweden, Birgit Nilsson, once contemplated suicide when she met with dismal reviews in her first perfomrance as Agathe from Weber's Die Freitschutz, for she was inexperienced and fresh out of the farm she grew up in. She went on to become the greatest dramatic soprano of all time, and for me, she is an even more thrilling and masterful soprano than the overrated Maria Callas. Birgit Nilsson died of unknown causes in her hometown of Sweden on Christmas of '05 only months ago. Her huge, steely, bright, metallic voice was reportedly capable of breaking glass and stone. This album covers many years in her career. Her Ariadne is not well known and it's captured in a young voice (50's) and she is in phenomenal shape. The dramatic heft of the role is suited to her voice. Wagner was her specialty of course and here we have slices of her Elisabeth from Tannhauser. She also sang Venus. Isolde was another great role of hers (the one she debuted at the Met) and Brunhilde is of course her best role. Singing Strauss is no piece of cake but when we listen to her Salome and Elektra and Dryer's Wife from Die Frau we are hearing a woman who, despite age, is singing with strength and vigor. She gets into character each time and she sings beautifully. All fans of La Nilsson must get this one.

Great.......2003-08-20

This is a very good CD for people who follow Birgit Nilsson's development. It contains live performances from 1949 (Ariadne auf Naxos - Nilsson sang Ariadne!!) to 1977 (Dyer's Wife in Die Frau Ohne Schatten). You can see her development from young to old over close to 30 years. For someone like me who have many of Birgit Nilsson's commercial recordings, this is a great CD too because it allows me to compare her 'live' performances with the studio recordings. It also enables me to see how her voice developed over the years. For instance, her voice grew in warm as she progressed in her career. By 1977, her voice had lost some ease - you can tell that she has to sing with more effort but her top register is still amazing, the gleam is still there even if it is more effortful to produce (when I say effortful I mean by young Birgit Nilsson standards - if you compare with other singers, she still sings effortlessly). Imagine - by 1977, she was 59 and she still puts singers singers half her age at 30 to shame. A very interesting CD in very mono sound. 5 stars for Nilsson's superb performances (her vocalism never fails to amaze me), for a fantastic variety of excerpts, for very mono sound, for the historical importance of this CD and for the incredible bargain price ... for 2 CDs.

If you are a 'historical' freak, buy this. If you are a Birgit Nilsson freak, buy this. If you are an opera freak, buy this. Even if you are not a freak, buy this!!

Wagner: Walkure/Strauss: Elektra, Salome
Average customer rating:

A Great Voice

A Great Voice

Wagner: Walkure/Strauss: Elektra, Salome
Janice Baird
Manufacturer: Arte Nova
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B000058AX8
Release Date: 2001-09-04

Tracks:

Hojo Toho
Starke Scheite
Erfuhrest Mdu Meine Schmach
Mild Und Leise
Allein Weh Ganz Allein
Ah Du Wolltest Mich Nicht

Album Details

It is above all with the Great Wagner and Strauss Heroines that the Dramatic Soprano Janice Baird Has Made the Leap Into International Opera Houses.

Customer Reviews:

A Great Voice.......2005-07-16

This woman has a great voice. It is big and has great top notes.
When you see her picture on the cover of her cd it is hard to believe that such a big voice comes from such a petite woman.
Much better thab Jane Eaglen. I do have to say that the conducting is a bit on the slow side.

A Great Voice.......2005-07-16

This is a great recital. Her voice is huge and exciting and she has great top notes. Much better then Jane Eaglen. I do have to say that the conducting is a little slow.

Music Track:

Music Track

music track

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