Strauss songs with orchestra, especially his final masterpiece, the Four Last Songs, have fared well in recordings, with compelling versions by Elizabeth Schwarzkopf, Lisa Della Casa, Jessye Norman, Gundula Janowitz, and o... more »thers of their caliber. But the Finnish soprano Soile Isokoski yields nothing to her distinguished predecessors. For some sopranos, Strauss's soaring melodies invite lingering tempos and arch interpretations that dwell on individual words and syllables, breaking the composer's long lines. Not here. Isokoski's sunlit voice and stunning legato illuminate music and text with restrained feeling. The Four Last Songs are taken at a perfect tempo, slow enough to let their message sink in, fast enough to let the music flow unimpeded. It's a lesson in the artfulness of simplicity, where less tinkering with the music equals more profundity and pleasure. The 11 other songs on the disc are as good, and while the quality of songs and singing is high throughout, it's hard to rid the memory of Isokoski's renditions of "Wiegenlied" and "Morgen!" once you hear them. But the same may be said of "Die heiligen drei Könige aus Morgenland" or "Befriet," among others. A disc to treasure. --Dan Davis« less
Strauss songs with orchestra, especially his final masterpiece, the Four Last Songs, have fared well in recordings, with compelling versions by Elizabeth Schwarzkopf, Lisa Della Casa, Jessye Norman, Gundula Janowitz, and others of their caliber. But the Finnish soprano Soile Isokoski yields nothing to her distinguished predecessors. For some sopranos, Strauss's soaring melodies invite lingering tempos and arch interpretations that dwell on individual words and syllables, breaking the composer's long lines. Not here. Isokoski's sunlit voice and stunning legato illuminate music and text with restrained feeling. The Four Last Songs are taken at a perfect tempo, slow enough to let their message sink in, fast enough to let the music flow unimpeded. It's a lesson in the artfulness of simplicity, where less tinkering with the music equals more profundity and pleasure. The 11 other songs on the disc are as good, and while the quality of songs and singing is high throughout, it's hard to rid the memory of Isokoski's renditions of "Wiegenlied" and "Morgen!" once you hear them. But the same may be said of "Die heiligen drei Könige aus Morgenland" or "Befriet," among others. A disc to treasure. --Dan Davis
"I have most of 4 last song recordings: te kanawa, norman, schwarzkopf, fleming, janowitz, della casa, auger; although there were great recordings (according to the experts) - but I believe; this is ONE of the best; the more I listen to this one, the more I am convinced that Soile and Marek are great team and express more sensible and sensitive feeling to the songs. Super highly recommended."
The Shock of the Old Being Reinvented Anew
Pater Ecstaticus | Norway | 09/24/2005
(5 out of 5 stars)
"The right kind of voice can make you fall in love - - and see the world in a new light... It happened to me for real once. And now it did again, sort of. This whole album sounds - as it always should, maybe, but which it so seldomly does - as if these songs, one after the other, are being reinvented, being recreated by Soile Isokoski! And the stunning playing of the Rundfunk-Sinfonieorchester Berlin under Marek Janowski are the ideal accompaniment for Soile Isokoski's singing, which is velvety but at the same time clear like a bell and with a full and ringing high. From the gentlest pianissimo's to the greatest fortissimo's Soile Isokoski's voice just soars, with the orchestra always the equal of and supportive to the soprano's art, which is simply magnificent. Her art displays a deep understanding of and a complete familiarity with the words she is singing, combined with the clearest diction. The same clearness and freshness, combined with a deep richness and colorfulness of sound, is displayed in the playing of the orchestra, so it all fits together wonderfully!
This must be one of the best Strauss Lieder albums ever to have emerged and TMHO it can hold pride of place beside the great Schwarzkopf/Szell album. If Elisabeth Schwarzkopf is the queen, then Soile Isokoski must surely be the crown princess."
Soile Isokoski shines in Strauss
Nora | 08/17/2002
(5 out of 5 stars)
"The glory of this CD is the Four Last Songs, but the rest of the recordings are wonderful as well. It nicely mixes the often recorded (Zueignung) with the somewhat rarer, meaning that repertoire isn't just replicated.
Isokoski has a wonderful voice for Strauss; it resembles Janowitz in several aspects, not as solid or truly dramatic as Norman or Voight, but richer than Schwartzkopf. Throughout she sings without affectation, letting the accuracy of phrasing and command of line speak for her. She is assisted admirably in this by Janowski's conducting, which is well-described as 'transparent'. The Strauss textures which become thick and muddy in some hands are here allowed to breathe, so that all the lines can be heard.
The first thing noticed about the Four Last Songs is how comparatively fast they are in parts, especially the first one. But comparatively fast does not mean rushed, and the quicker tempi remove the veneer of sentimentality which has accumulated on these songs. Listening to that opening sweep in the orchestra as the voice comes in low, it's hard to imagine going back.
This is an ideal CD for a Strauss beginner, and any lover of the Four Last Songs or operatic/vocal Strauss must get this."
Difficult to believe this Strauss selection is so good!
Grady Harp | Los Angeles, CA United States | 06/11/2003
(5 out of 5 stars)
"Soile Isokoski, where have you been hiding? Long an ardent devotee of Strauss songs (especially the Four Last Songs) I thought I had heard the finest interpretations by the usual suspects - Schwarzkopf, Della Casa, Popp, Te Kanawa, Fleming, Janowitz, Norman, Auger etc. Granted each of these great singers "owns" certain songs, but few have the incredible consistency of Isokoski. Not only is hers a voice of crystaline beauty that seems to know no specific range, her intelligence pays homage to the music and words without the 'milking for effect' that is the tendency of many very fine singers who sound as though they have fallen in love with their own sound as much as Strauss' intentions. Radiantly beautiful from beginning to end. She is the new Strauss heroine for the decade! Brava!"
Score 4 runs for Strauss/Isokoski
Ron Harris | Laguna Beach, California United States | 03/11/2006
(5 out of 5 stars)
"Mr. Strauss may or may not have described himself as a first-rate second-rate composer, but he could be proud of the Four Last Songs - a grand slam out of the musical ballpark - some of the most sublime music in the repertoire.
But why purchase Isokoski's CD over others? Well, you shouldn't, but rather have the recordings of all the other icons. Each brings a particular interpretation, as insightful other reviewers have noted, and I suppose in the end it really is more a matter of whose voice/sound you prefer at any given time. Forced to choose, however, I would select this recording. Ms. Isokoski sings with a purity of tone, sweet when needed but with enormous strength other times. Her rendering rings with a real joy and freshness, much like when rain suddenly stops and all is fragrantly wet.
A deciding factor, too, would be the coupling of eleven other orchestral songs to the title draw. Each is stand alone beautiful yet forming a wonderful musical tapestry, enhanced by an absolutely superb recording by the Ondine label engineers.
For the ultimate enjoyment, I would recommend listening with the Bose noise reducing headphones, in singular repose, with the effect of Ms. Isokoski singing in the middle of your head. It can be an out of body experience. Given the option, I would hope that the last sound I hear on Earth would be the last of the Four Last Songs - sort of for the definitive out of body experience."