Strauss: Daphneby Renée Fleming
Ever since Renée Fleming featured the gorgeous finale from Strauss' Daphne as one of the opera scenes on her 1997 Signatures album, hopes have been high that she might make a complete recording of this underrated "bucolic tragedy." Well, it's arrived at last, and not only does it/i>/a>/i>/a>… See more details below
Ever since Renée Fleming featured the gorgeous finale from Strauss' Daphne as one of the opera scenes on her 1997 Signatures album, hopes have been high that she might make a complete recording of this underrated "bucolic tragedy." Well, it's arrived at last, and not only does it fill a major gap in the Strauss discography -- the only other modern studio recording, starring the radiant Lucia Popp, is sadly out of print -- but it does so with immense style and eloquence, revealing Daphne as the most consistently lovely of Strauss' late operas. Portraying this "sex-shy nature-lover" (to quote one Strauss scholar's unforgettably apt description), Fleming gives one of the most lustrous performances of her career. Some critics have lamented that the soprano hasn't been given the chance to record a complete Rosenkavalier, but frankly, having her Daphne on disc is more valuable still: If anyone can bring this hauntingly lyrical gem into the mainstream repertoire at last, it's Fleming. From her long opening soliloquy, "O bleib, geliebter Tag," to the unforgettable "Transformation Scene" at the close, she soars through the difficult but glorious vocal writing of this role, one of Strauss' supreme love letters to the soprano voice. Like his early masterpieces Salome and Elektra this is a compact opera, a single act lasting 100 minutes; the concision adds to its impact, and Decca has wisely placed the final half hour alone on the second disc in this package, making it easy to revisit the score's most rapturous pages. Fleming's accomplishment aside, this is no one-woman show, and the other singers -- including Michael Schade and Johan Botha as Daphne's two suitors (one a shepherd, the other a god) and Anna Larsson in the rich contralto role of Daphne's, mother Gaea (a close vocal relation of Wagner's Erda) -- all contribute to the recording's total success. A feather in Fleming's cap and one of the finest opera recordings of 2005, this is indeed the Daphne we've been waiting for.
- Release Date:
- Orchestereinleitung / Kleontes! - Andrast!
- Leb wohl, du Tag! - O bleib, geliebter Tag!
- Leukippos, du?
- Daphne! - Mutter! - Wir warten dein
- Ei, so fliegt sie vorbei
- Seid ihr um mich, ihr Hirten alle?
- Ich grüße dich, weiser, erfahrener Fischer
- Was führt dich her im niedern Gewande
- Nicht wollen die Götter
- Dieser Kuß - Dies Umarmen
- Allüberall blüht Dionysos
- Trinke, du Tochter!
- Furchtbare Schmach dem Gotte!
- Zu dir nun, Knabe!
- Jeden heiligen Morgen
- Was blendet so?
Performance CreditsRenée Fleming Primary Artist,Vocals
Michael Schade Vocals
Semyon Bychkov Conductor
Carsten Wittmoser Vocals
Cosmin Ifrim Vocals
Julia Kleiter Vocals
Anna Larsson Vocals
WDR Rundfunkchor Köln Damenchor Choir, Chorus
Kwangchul Youn Vocals
Johan Botha Vocals
WDR Sinfonieorchester Köln Performing Ensemble
Twyla Robinson Vocals
Gregory Reinhart Vocals
Eike Wilm Schulte Vocals
Technical CreditsMichael Haas Producer
Mark Millington Art Direction
Christoph Gronarz Engineer
Maria Pelikan Libretto Translation
Andrew Eccles Cover Photo
Evans Mirageas Executive Producer
Hans-Martin Höpner Executive Producer
Joseph Gregor Librettist
Brian Kellow Liner Notes
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