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Track(s) taken from CDA67934

La perla, S326 Second version

First line:
Sono del mare bianca la figlia
1872; LW N67
author of text

Angelika Kirchschlager (mezzo-soprano), Julius Drake (piano)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: October 2011
Potton Hall, Dunwich, Suffolk, United Kingdom
Produced by Simon Kiln
Engineered by Arne Akselberg
Release date: July 2012
Total duration: 4 minutes 54 seconds

Cover artwork: Photograph of Angelika Kirchschlager by Sim Canetty-Clarke


'Finding a wide palette of colours within her naturally warm mezzo, Kirchschlager is in her element … this recital should open many ears to the richness and variety of Liszt's songs. Recording and presentation are first-class' (Gramophone)

'The more one hears of Liszt's songs, the more one wonders why they have been so rarely performed … Kirchschlager's rich, resonant mezzo finds beauties everywhere on this disc, from heights of drama to intimacies of reflection, and at every turn Drake is with her' (BBC Music Magazine)

'This is a fascinating and rewarding recital, which explores Liszt’s oeuvre from the 1840s to 1870s … the grainy and distinctive timbre of Kirchschlager’s vivid mezzo-soprano is well suited to this highly charged emotional world, and Drake’s playing is eloquently impassioned without sinking to fortissimo ham' (The Daily Telegraph)

'Hyperion's retrospective of Liszt's complete songs [is] one of the most important recording projects of recent years … Kirchschlager is exquisite and intensely dramatic by turns … Drake is outstanding throughout' (The Guardian)

'The high expectations roused by Volume 1 of Hyperion's compete Liszt songs … are more than met with this second instalment … the programme is excellently chosen to showcase Liszt's versatility as a master of Romantic song … Kirchschlager's extraordinary dramatic gifts are displayed in the two longest songs here, Jeanne d'Arc au bûcher and Die drei Zigeuner … rich new levels of meaning are revealed … Kirchschlager and Drake deliver performances that set the beauty and inventiveness of each song in high relief … not to be missed' (International Record Review)
La perla was probably composed in homage to the noblewoman who wrote the poem: Thérèse von Hohenlohe-Waldenburg (1817–1895), who was a cousin of Princess Marie von Sayn-Wittgenstein (the daughter of Liszt’s mistress Carolyne by her estranged Russian husband) and the mother of Rilke’s later patroness Princess Marie von Thurn und Taxis. Thérèse and Liszt had encountered one another in Rome, and Liszt visited the Hohenlohe villa in Duino in 1867–8. In this poem she endows a pearl with a persona and a history, from its birth in a mussel shell to its brutal removal from its oceanic home and its subsequent slavery in adornment for the rich: the rape of Nature to satisfy human vanity. In the postlude of this extended dramatic song we hear a grief-stricken, chromatic transformation of the placid sea-music at the start.

from notes by Susan Youens © 2012

La perla fut probablement composée en hommage à la noble dame qui en signa le poème: Thérèse von Hohenlohe-Waldenburg (1817–1895). Celle-ci fut la cousine de la princesse Marie von Sayn-Wittgenstein (fille de la maîtresse de Liszt, Carolyne—et du mari dont elle était séparée) et la mère de la dernière mécène de Rilke, la princesse Marie Von Thurn und Taxis. Liszt, qui avait rencontré Thérèse à Rome, s’était rendu à la villa des Hohenlohe, à Duino, en 1867–8. Dans ce poème, Thérèse doue d’une personnalité et d’une histoire une perle qui, née dans une coque de moule, est brutalement arrachée à sa demeure océanique afin d’être asservie comme parure pour les riches: la Nature violée pour satisfaire la vanité humaine. Le postlude de cette longue mélodie dramatique laisse entendre une métamorphose chromatique, accablée de douleur, de la placide musique océanique du début.

extrait des notes rédigées par Susan Youens © 2012
Français: Hypérion

La perla wurde wahrscheinlich zu Ehren der adligen Autorin des Gedichts komponiert: Thérèse von Hohenlohe-Waldenburg (1817–1895), einer Kusine der Fürstin Marie von Sayn-Wittgenstein (der Tochter von Liszts Geliebter Carolyne und ihres russischen Mannes, von dem sie sich später getrennt hatte) und Mutter von Rilkes späterer Gönnerin Fürstin Marie von Thurn und Taxis. Thérèse und Liszt waren einander in Rom begegnet; Liszt besuchte das Schloß der Familie Hohenlohe in Duino 1867–68. In diesem Gedicht verleiht die Autorin einer Perle menschliche Züge und erzählt die Geschichte von ihrer Geburt in einer Muschelschale bis zur grausamen Entfernung aus ihrem Zuhause im Meer und der anschließenden Versklavung als Zierde für die Reichen: die Vergewaltigung der Natur zur Befriedigung menschlicher Eitelkeit. Im Nachspiel dieses ausgedehnten Liedes hört man eine trostlose chromatische Umwandlung der ruhigen Musik des Meeres am Anfang.

aus dem Begleittext von Susan Youens © 2012
Deutsch: Christiane Frobenius

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