I just love it, it’s beyond any other recording of Vier letzte Lieder recordings. Lucia Popp you have given me tears of joy and of sadness over the years of listening to your beautiful voice singing Richard Strauss’s Four Last Songs.There is nothing to follow this beautiful music.
Lucky enough to hear her in a lunch-time concert at St John's Smith Square, London, in, l think, '82. Probably in town to make these very recordings. Her accompanist, if I remember correctly, was Geoffrey Parsons. I think it was an all Schubert and Schumann programme. All I really recall, now, is that she was rather flirtatious with her audience. The male members, that is . I was already in love with the voice, but that day I fell in love with the woman. To think I was once only a few yards away from this Goddess! A cherished memory. But did I appreciate it at the time? Eden is that old-fashioned House we dwell in every Day, without suspecting our Abode until we drive away....
Ho avuto l'onore di assistere ad un concerto di Lucia Popp al teatro Comunale di Bologna. Non dimenticherò mai la sua voce, le emozioni, il pubblico in delirio per l'interpretazione magistrale dei lied in calendario alcuni dei quali facenti parti di questa composizione. Brava! Brava! Brava!
Wonderful. There are many great renditions of this Strauss masterwork, but this is my desert island recording. Popp is exquisite and very few conductors could match Tennstedt for deft accompanyment of soloists, whether vocal or instrumental.
This was the performance of the work I heard first, and nearly played to death, in grad school. I have a few others I have come to love, especially Norman, who has the breadth and glow of the red sky she is singing about, at a fantastically slow, dreamlike tempo. But I think I have to favor this one best after all. She does deliver the text first, which was her duty and seemed to be her joy.
She was just so bloody beautiful - what conductor wouldn't have wanted to wave his arms about in front of her - the voice was just a bonus I'd never heard this recording before and I think it's up there with the Normans and the Janowitzs
The more I listen to this reference version, the more I realize it is the best. That marvellous roundness of her voice! No one like her imitates the floating, ascending melismata of the violin solo in 'Beim Schlafengehen' for no one like her conveys that blissful feeling of suspended freedom just by hovering upwards, gliding through notes without edges, where others (very beautifully indeed) move forward in vawes. A hovering freedom, by the way, that lies at the core of what Hermann Hesse's poem sought to express
Je découvre aujourd'hui seulement Lucia Popp dans ces Quatre derniers Lieder; elle y est sublime - c'était prévisible-, et soutenue par un grand orchestre, et un chef trop sous-estimé à mon avis, Klaus Tennstedt. Un moment d'art exceptionnel. Grand merci pour ce partage.
Fragile beautiful,reading of these songs from both Tennstedt and Popp unsurpassed for me despite loving Janowitz and a few others was well this one has it for me.
there is a satin quality to her singing that is not found elsewhere. no hysterics and massive ups and downs in the flourishes or in the high notes...no struggle to meet the orchestra. she is absolutely in control of the music, of herself and of the conductor. I am a Jessye Norman fan but I have to agree that this performance takes it to another level in its perfect interpretation.
There are many great recordings of this masterpiece (Schwarzkopf x 2, Janowitz, Norman, Fleming among others) but for me this recording with Tennstedt is the greatest.
robert72744 Yes, I feel the same way. I don't think this is the most popular choice, but it does not matter one bit! This recording is the most sensuous one of them all. It has a sense of cyclic moment, flow, and a certain glow, luster in the sound of both the orchestra and the soprano that no other recordings have. I love Schwarzkopf, Janowitz, and Norman recordings immensely for different reasons. But I absolutely cannot stand Fleming's mannerism. This recording is the first one I listened to and I could not get away from it for years and years. I listened to it day and night, literally. I love these pieces so much they may very well be my favorite pieces ever. Faure's piano quintet in d minor is another composition that I feel equally passionate about. They are just TOO GOOD.
I haven't listened to Strauss' Vier letzte Lieder for quite a while (I have in my collection a recording with Karajan and Tomova-Sintov: also an interesting one). Now, as a death has occurred in my family recently, I returned to this work, searching and comparing here via RUclips so many of the great voices. Each one of them has certain particular qualities and a particular beauty. Especially I found the recording with Jessye Norman very intriguing. But I always came back to the wonderful Lucia Popp(ová)! There seems to dwell in her soul a very unique and deep understanding of what she is singing here. And it's all extremely comforting, too! Tears keep coming and coming! There is so much warmth in these Slavic voices (and especially in the voice of Lucia Popp), maybe that's also to do with the sufferings they have gone through under communism. It seems to have given them character, depth, even saintliness. Klaus Tennstedt, then, is bringing the very best out of the London Philharmonic! It's a most beautiful recording indeed! I've already ordered it and will give it to my cousin as a gift. He lost his mother three weeks ago, and this music might do a bit of healing for his bleeding heart. Thank you so much for uploading this work!
Lei è inarrivabile ed inimitabile...uno strumento di Grazia Divina che si manifesta...se conosci un pezzo e lo senti eseguito da lei nessun altra esecuzione riuscirà ad avvicinarsi... Grazie Lucia 🙏🥰🙏 Grazie Grazia Divina🙏🥰🙏 Grazie❤
SUPER!!! Die EINZIGE Aufnahme, wo man das Orchester richtig hören kann!! Alle anderen Aufnahmen (Norman usw) kann man in die Tonne werfen, weil die Stimme viel zu laut ist!!
"Macho" - really? How so, given that the generally accepted definition of macho is posturing, swaggering, competitive aggression combined with a denial of any expression of emotion?
God, she was such a great, great communicative singer. So sad she was taken far too soon. This recording is a treasure
I just love it, it’s beyond any other recording of Vier letzte Lieder recordings.
Lucia Popp you have given me tears of joy and of sadness over the years of listening to your beautiful voice
singing Richard Strauss’s Four Last Songs.There is nothing to follow this beautiful music.
Lucky enough to hear her in a lunch-time concert at St John's Smith Square, London, in, l think, '82. Probably in town to make these very recordings. Her accompanist, if I remember correctly, was Geoffrey Parsons. I think it was an all Schubert and Schumann programme. All I really recall, now, is that she was rather flirtatious with her audience. The male members, that is . I was already in love with the voice, but that day I fell in love with the woman. To think I was once only a few yards away from this Goddess! A cherished memory. But did I appreciate it at the time? Eden is that old-fashioned House we dwell in every Day, without suspecting our Abode until we drive away....
Der Gipfel der Spätromantik in seiner besten Interpretation!
If this doesn't make your spine shiver, try listening with your viscera as well as your ears.
Ho avuto l'onore di assistere ad un concerto di Lucia Popp al teatro Comunale di Bologna. Non dimenticherò mai la sua voce, le emozioni, il pubblico in delirio per l'interpretazione magistrale dei lied in calendario alcuni dei quali facenti parti di questa composizione. Brava! Brava! Brava!
Yes.....I was lucky enough to see her last performance in L.A. at the Ambassador Auditorium.
Wonderful. There are many great renditions of this Strauss masterwork, but this is my desert island recording. Popp is exquisite and very few conductors could match Tennstedt for deft accompanyment of soloists, whether vocal or instrumental.
This was the performance of the work I heard first, and nearly played to death, in grad school. I have a few others I have come to love, especially Norman, who has the breadth and glow of the red sky she is singing about, at a fantastically slow, dreamlike tempo. But I think I have to favor this one best after all. She does deliver the text first, which was her duty and seemed to be her joy.
Well, better late than never….as the saying goes. Did not know her voice….and now feel so fortunate to have heard such a complete artist.
She was just so bloody beautiful - what conductor wouldn't have wanted to wave his arms about in front of her - the voice was just a bonus I'd never heard this recording before and I think it's up there with the Normans and the Janowitzs
The more I listen to this reference version, the more I realize it is the best. That marvellous roundness of her voice! No one like her imitates the floating, ascending melismata of the violin solo in 'Beim Schlafengehen' for no one like her conveys that blissful feeling of suspended freedom just by hovering upwards, gliding through notes without edges, where others (very beautifully indeed) move forward in vawes. A hovering freedom, by the way, that lies at the core of what Hermann Hesse's poem sought to express
Pure Heaven...
Stunning!
Je découvre aujourd'hui seulement Lucia Popp dans ces Quatre derniers Lieder; elle y est sublime - c'était prévisible-, et soutenue par un grand orchestre, et un chef trop sous-estimé à mon avis, Klaus Tennstedt. Un moment d'art exceptionnel.
Grand merci pour ce partage.
Tout à fait d' accord avec vous ! écoutez-là ( si ce n' est déjà fait ) dans le final de " Daphné "... C' est " hors normes " !
Fragile beautiful,reading of these songs from both Tennstedt and Popp unsurpassed for me despite loving Janowitz and a few others was well this one has it for me.
Infused into every note is such incredible beauty -- a voice that was such a gift. Perfect for so much repertoire!!!!!
Wahre Eleganz ist zeitlos.
Norman, Schwarzkopf, Janowitz...this recording stands at the top as far as I'm concerned. As much for Tennstedt as his sublime soloist.
there is a satin quality to her singing that is not found elsewhere. no hysterics and massive ups and downs in the flourishes or in the high notes...no struggle to meet the orchestra. she is absolutely in control of the music, of herself and of the conductor. I am a Jessye Norman fan but I have to agree that this performance takes it to another level in its perfect interpretation.
@@cindyj5522p
There are many great recordings of this masterpiece (Schwarzkopf x 2, Janowitz, Norman, Fleming among others) but for me this recording with Tennstedt is the greatest.
robert72744 Yes, I feel the same way. I don't think this is the most popular choice, but it does not matter one bit! This recording is the most sensuous one of them all. It has a sense of cyclic moment, flow, and a certain glow, luster in the sound of both the orchestra and the soprano that no other recordings have. I love Schwarzkopf, Janowitz, and Norman recordings immensely for different reasons. But I absolutely cannot stand Fleming's mannerism. This recording is the first one I listened to and I could not get away from it for years and years. I listened to it day and night, literally. I love these pieces so much they may very well be my favorite pieces ever. Faure's piano quintet in d minor is another composition that I feel equally passionate about. They are just TOO GOOD.
Oui, pour moi l'harmonie est parfaitement exprimée dans cette version de maîtres serviteurs d'une parfaite partition
Oui ... Mais vous oubliez l' " immense " Gundula Janowitz !
@@yvesgerard1308 Yes, I did mention her above just after Schwarzkopf....Karajan makes it really special.
Surely ... 😉
Just marvelous. And, yes she was gone too soon. She interprets like no on else. And she has such sound.
No wonder a huge part of the male musical world fell in love, not only with this voice, but with the carrier of it, too!
I haven't listened to Strauss' Vier letzte Lieder for quite a while (I have in my collection a recording with Karajan and Tomova-Sintov: also an interesting one). Now, as a death has occurred in my family recently, I returned to this work, searching and comparing here via RUclips so many of the great voices. Each one of them has certain particular qualities and a particular beauty. Especially I found the recording with Jessye Norman very intriguing. But I always came back to the wonderful Lucia Popp(ová)! There seems to dwell in her soul a very unique and deep understanding of what she is singing here. And it's all extremely comforting, too! Tears keep coming and coming! There is so much warmth in these Slavic voices (and especially in the voice of Lucia Popp), maybe that's also to do with the sufferings they have gone through under communism. It seems to have given them character, depth, even saintliness.
Klaus Tennstedt, then, is bringing the very best out of the London Philharmonic! It's a most beautiful recording indeed! I've already ordered it and will give it to my cousin as a gift. He lost his mother three weeks ago, and this music might do a bit of healing for his bleeding heart.
Thank you so much for uploading this work!
I've too recording Karajan/tomowa-Sintow. Only on a CD DGG. this recording should be part of Karajan Legacy, but never published on video .... :-)
Musica meravigliosa,voce stupenda.
Как жалко, что Лючия Попп так рано ушла из жизни. Прямо слезы наворачиваются.
Ascolto emozionante. Voce sublime e direzione d'orchestra meravigliosa!
Amo a strauss.es lo más grande.
si simple ,tellement sensible ..la perfection certainement
Lei è inarrivabile ed inimitabile...uno strumento di Grazia Divina che si manifesta...se conosci un pezzo e lo senti eseguito da lei nessun altra esecuzione riuscirà ad avvicinarsi...
Grazie Lucia 🙏🥰🙏
Grazie Grazia Divina🙏🥰🙏
Grazie❤
Como disfrutamos con tu voz LUCIA.Por siempre TU.
¿Como una maravillosa voz puede elevarte hacia lo más alto del cosmos infinito ?.argentina.gracias.
A wonderfully emotive rendition of these classics :-)
¡¡¡Que voz maravillosa!!!
Heaven!
PERFECTA ÚNICA, COMO SIEMPRE LA MEJOR DE TODOS LOS TIEMPOS!
Прекрасное, вдохновенное исполнение. Одно из лучших.
Gorgeous!
Sublime
Horrible Singer! Her top should shimmer and does not she's marking her top notes.
Carlo Guillermo Fierens Such a marvelous response! Lucia may not be for everybody, but I love her! Def my fave 4 Last Songs recording. Lost too soon!
@@johnrondeau8500 horrible es tu comentario
Principal Horn of the London Philharmonic Orchestra - Nicholas Busch.
Popp's rendition is luscious; one of the very best. But I too lean toward Jesse Norman's and---a real sleeper---Barbara Hendricks.
I heard Hendricks' on the radio today, accompanied only by Wolfgang Sawallisch on piano, and was very much taken by it. Very much.
00:00 - "Frühling" (Spring)
03:50 - "September"
09:07 - "Beim Schlafengehen" (When Falling Asleep)
15:30 - "Im Abendrot" (At Sunset)
SUPER!!! Die EINZIGE Aufnahme, wo man das Orchester richtig hören kann!! Alle anderen Aufnahmen (Norman usw) kann man in die Tonne werfen, weil die Stimme viel zu laut ist!!
Die für mich beste Aufnahme!
Jessy Norman is the best performance for me but this and other performances are very good.
Yes......other singers are good, but Popp is the standard for all to try to emulate, at least on 4 Last Songs.
@richardjx. I thought this a rather slow performance. Hardly macho.
Too fast “ macho” and energetic in some places for Last Songs😩IMHO👌Janowitz, Isokoski & Norman👍💥💥💥
"Macho" - really? How so, given that the generally accepted definition of macho is posturing, swaggering, competitive aggression combined with a denial of any expression of emotion?
Difficile de parler après ça...
Vocal /textual sensitivity....
Mario Guido Scappucci - Tre sonetti dal Petrarca - Erano i capei d'oro 1