Rote Lieder

She sang all the major mezzo roles, and also some in the dramatic soprano repertory, notably Leonora in Fidelio, Lady Macbeth and the Marschallin. Her voice is a rich, expressive mezzo capable of dramatic incisiveness and even throughout its considerable range. Her upper register in mezzo music is excintingly projected. Although this compilation is composed of different recordings in different settings in different years, all of them show a young Ludwig when she had not yet acquired her prime and her status of, arguably, the best mezzo of the world, which would arrive in the years to come.

Robert Schumann’s talismanic song-cycle Dichterliebe has been recomposed by German composer and conductor Christian Jost. The results can now be heard on an album from Deutsche Grammophon which pairs the new score with recordings of Schumann’s Dichterliebe and the Liederkreis op.39 made by Jost’s wife, mezzo-soprano Stella Doufexis, a year before her tragic death from cancer. Jost’s reimagined Dichterliebe, performed by tenor Peter Lodahl and the Horenstein Ensemble, casts new light on the shifting moods of Schumann’s composition. Dichterliebe is set for worldwide release on April 12 via Deutsche Grammophon/Universal Music Canada, the country’s leading music company.

Marking the 80th birthday of Grace Bumbry in January 2017, this box set celebrates her magnificent career across opera, oratorio and Lieder and soul in a handsome original jackets collection of 8CDs and a DVD of her legendary Carmen.

This 11-CD set, one might say jokingly, contains all the music ever written for the soprano voice and a bit for mezzo as well. And indeed, it's a staggering collection: In addition to her great Verdi heroines (the two Leonoras, Aida, Amelia, and Elvira in Ernani), Price is heard in her Puccini roles–Manon Lescaut, Butterfly, Tosca–and at least two dozen other roles, most of which she never sang on stage. Here are her heroic, secure Leonore in Fidelio, Strauss's high-flying Egyptian Helen, Purcell's Dido, Barber's Cleopatra, Bellini's Norma, Ariadne, Verdi's Violetta and Desdemona, Bizet's Carmen, Mozart's Countess, and Fiordiligi…

Dreimal sieben Gedichte aus Albert Girauds "Pierrot lunaire" ("Three times Seven Poems from Albert Giraud's 'Pierrot lunaire'"), commonly known simply as Pierrot lunaire, Op. 21 ("Moonstruck Pierrot" or "Pierrot in the Moonlight"), is a melodrama by Arnold Schoenberg. It is a setting of 21 selected poems from Albert Giraud's cycle of the same name as translated into German by Otto Erich Hartleben. The work is written for reciter (voice-type unspecified in the score, but traditionally performed by a soprano) who delivers the poems in the Sprechstimme style accompanied by a small instrumental ensemble. Schoenberg had previously used a combination of spoken text with instrumental accompaniment, called "melodrama", in the summer-wind narrative of the Gurre-Lieder, which was a fashionable musical style popular at the end of the nineteenth century. Though the music is atonal, it does not employ Schoenberg's twelve-tone technique, which he did not use until 1921.

Through Romany Songland, soprano Isabel Bayrakdarian takes the listener on a journey through lieder by Brahms, Bizet and Dvorak, operetta by Lehar, Kalman and Herbert, and spicy Spanish songs.