STRAUSS Lieder (Maria Bengtsson)
View record and artist detailsRecord and Artist Details
Composer or Director: Richard Strauss
Genre:
Vocal
Label: Dabringhaus und Grimm
Magazine Review Date: 07/2018
Media Format: CD or Download
Media Runtime: 63
Mastering:
DDD
Catalogue Number: MDG922 2062-6
Tracks:
Composition | Artist Credit |
---|---|
(8) Lieder aus Letzte Blätter, Movement: No. 2, Nichts |
Richard Strauss, Composer
Maria Bengtsson, Soprano Richard Strauss, Composer Sarah Tysman, Piano |
(8) Lieder aus Letzte Blätter, Movement: No. 3, Die Nacht |
Richard Strauss, Composer
Maria Bengtsson, Soprano Richard Strauss, Composer Sarah Tysman, Piano |
(8) Lieder aus Letzte Blätter, Movement: No. 8, Allerseelen |
Richard Strauss, Composer
Maria Bengtsson, Soprano Richard Strauss, Composer Sarah Tysman, Piano |
(6) Lieder, Movement: No. 2, Ständchen |
Richard Strauss, Composer
Maria Bengtsson, Soprano Richard Strauss, Composer Sarah Tysman, Piano |
(4) Lieder |
Richard Strauss, Composer
Maria Bengtsson, Soprano Richard Strauss, Composer Sarah Tysman, Piano |
(3) Lieder |
Richard Strauss, Composer
Maria Bengtsson, Soprano Richard Strauss, Composer Sarah Tysman, Piano |
(5) Lieder, Movement: No. 1, Ich trage meine Minne (wds. K Henckell) |
Richard Strauss, Composer
Maria Bengtsson, Soprano Richard Strauss, Composer Sarah Tysman, Piano |
(4) Lieder, Movement: No. 1, Das Rosenband (wds. Klopstock: 1897, orch 1897) |
Richard Strauss, Composer
Maria Bengtsson, Soprano Richard Strauss, Composer Sarah Tysman, Piano |
(4) Lieder, Movement: No. 2, Für funfzehn Pfennige (wds. Des Knaben Wunderhorn: 1897) |
Richard Strauss, Composer
Maria Bengtsson, Soprano Richard Strauss, Composer Sarah Tysman, Piano |
(4) Lieder, Movement: No. 3, Hat gesagt - bleibt's nicht dabei (Des Knaben Wunderhorn: 1898) |
Richard Strauss, Composer
Maria Bengtsson, Soprano Richard Strauss, Composer Sarah Tysman, Piano |
(6) Lieder, Movement: No. 3, Meinem Kinde (wds. Falke: 1897, orch 1897) |
Richard Strauss, Composer
Maria Bengtsson, Soprano Richard Strauss, Composer Sarah Tysman, Piano |
(6) Lieder, Movement: No. 5, Herr Lenz (wds. Bodman: 1898) |
Richard Strauss, Composer
Maria Bengtsson, Soprano Richard Strauss, Composer Sarah Tysman, Piano |
(6) Lieder, Movement: Lieder der Ophelia (wds Shakespeare trans K Simroc |
Richard Strauss, Composer
Maria Bengtsson, Soprano Richard Strauss, Composer Sarah Tysman, Piano |
(5) Kleine Lieder, Movement: No. 3, Einerlei (wds. A von Arnim) |
Richard Strauss, Composer
Maria Bengtsson, Soprano Richard Strauss, Composer Sarah Tysman, Piano |
(5) Kleine Lieder, Movement: No. 5, Schlechtes Wetter (wds. Heine) |
Richard Strauss, Composer
Maria Bengtsson, Soprano Richard Strauss, Composer Sarah Tysman, Piano |
Malven |
Richard Strauss, Composer
Maria Bengtsson, Soprano Richard Strauss, Composer Sarah Tysman, Piano |
Author: Hugo Shirley
Barnstorming is avoided, with the climaxes of such songs as ‘Allerseelen’ and ‘Heimliche Aufforderung’ dialled down: the first, despite a leisurely tempo, resolutely avoids sentimentality; the second almost grinds to a halt in its final verse at ‘Und will an die Brust dir sinken’, and resolutely resists getting carried away later on. It’s a fascinating approach, and one that is maintained with admirable consistency and restraint. It does also undoubtedly result in a couple of lovely performances: listen to their unusually hushed ‘Traum durch die Dämmerung’, for example, the moving intimacy of their ‘Nachtgang’ or the patience of their ‘Ruhe meine Seele’.
But I also found myself starting to long for a bit more, for some extra excitement, for some passionate excess. And matters aren’t helped by the fact that Bengtsson’s characterisations remain rather generalised – she doesn’t do a great deal with words, leaving much of the comic potential of ‘Schlechtes Wetter’, for example, unexplored. The voice, though undoubtedly beautiful, also has a slight haziness to it (at least as captured here), and doesn’t always grab the note as firmly as one would like. Tysman plays a 1901 Steinway model D and obtains some beguiling sounds from it, but the instrument’s somewhat mellow tone adds to the recital’s slightly unassertive feel. Not a fully satisfying listen, then, but an often fascinating one nonetheless.
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