After their opulent and virtuosic
Elgar, opulent and virtuosic
Strauss should come as no surprise from
Mark Elder and the
Hallé. But even measured against their
Elgar,
Elder, and the
Hallé's
Strauss is sumptuous and opulent. From the glittering brilliance of the opening Don Juan through the sensuality of the central seven orchestral lieder to the energetic exercises of the closing Macbeth, their performances are as lushly upholstered and as well-played as the best by continental orchestras. Every department of the orchestra excels from the slashing strings and characterful woodwinds in Don Juan to the brash brass and bludgeoning timpani of Macbeth, and under the skilled hands of music director
Elder, the ensemble is supple but always together. Though Don Juan is early
Strauss and Macbeth is very early
Strauss, these performances make both pieces sound like great
Strauss.
But the best part of this disc may be the central seven orchestral lieder. Not only does the
Hallé exceed itself in delivering deep-pile opulence, but singer
Anne Schwanewilms delivers performances of surpassing beauty. With an ideal
Strauss soprano -- high, strong, clear, and hot -- coupled to an astounding technique and complete control,
Schwanewilms treats such favorites as Morgen! and Befreit to performances of aching sensuality. Listeners already familiar with
Schwanewilms' superlative disc of
Strauss' piano accompanied lieder need not hesitate, nor, indeed, need any lover of great singing.
As with all the previous discs released on the
Hallé's own label, the sound here is full, round, warm, and deep.