Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.

Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Click cover art to view larger version
Track(s) taken from CDA67844

Die erwachte Rose, TrV90

First line:
Die Knospe träumte von Sonnenschein
1880; WoO66; rediscovered in 1958; first performed in 1959 by Elisabeth Schwarzkopf and Gerald Moore
author of text

Elizabeth Watts (soprano), Roger Vignoles (piano)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: January 2012
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: November 2012
Total duration: 3 minutes 29 seconds

Cover artwork: A Summer Night (1890) by Albert Joseph Moore (1841-1893)
© Walker Art Gallery, National Museums Liverpool / Bridgeman Art Library, London


'Vignoles plays the often extended introductions and postludes … quite magically, to say nothing of the extended interludes … my pleasure in this latest volume is without any reservations. Elizabeth Watts sings gloriously, rising fluently to the high tessitura of Strauss's melodic lines (immediately obvious in the first few songs included in the recital). Her beautiful voice, sensitive phrasing and response to word-meanings are consistently rewarding and her partnership with Roger Vignoles could hardly be more beautifully balanced' (Gramophone)

'Watts takes flight in this repertoire, her warm, generous soprano broadening into a luscious, creamy-toned wonder. Tonal glamour? You bet' (The Guardian)

'Watts has the full measure of the drama … she reveals herself as an accomplished Straussian throughout this recital and nowhere more so than in the very last song that the composer wrote, Malven, written for soprano Maria Jeritza in 1948 after he had finished the Vier letzte Lieder. A gift from one great artist to another and a fitting end to this admirable recording' (International Record Review)
An earlier composition than Rote Rosen, Die erwachte Rose is set to a rippling accompaniment in the style of Schumann or Mendelssohn. The melody is charming enough for its subject but there are places where one senses that the words are fitted to the melody rather than vice versa. Even so the recitative-like final page brings more variety and a sort of wide-eyed wonder, while the image of the awakening flower suggests why Strauss included the song in his gift to Lotti.

from notes by Roger Vignoles © 2012

Composé avant le Rote Rosen, Die erwachte Rose repose sur un accompagnement ondulant dans le style de Schumann ou de Mendelssohn. La mélodie est assez charmante pour son sujet mais, à certains endroits, on sent que les mots sont ajustés à la ligne mélodique et non le contraire. Néanmoins, la dernière page, dans un style de récitatif, apporte davantage de variété et une sorte d’émerveillement avec les yeux écarquillés, alors que l’image de la fleur qui s’éveille donne une idée de la raison pour laquelle Strauss a offert ce lied à Lotti.

extrait des notes rédigées par Roger Vignoles © 2012
Français: Marie-Stella Pâris

Die erwachte Rose entstand früher als Rote Rosen und ist auf eine dahinplätschernde Begleitung im Stil von Schumann oder Mendelssohn vertont. Die reizvolle Melodie wird dem Sujet durchaus gerecht, auch wenn man hier und da den Eindruck hat, dass der Text der Melodie angepasst ist statt umgekehrt. Im rezitativartigen Schlussteil kehren jedoch größere Vielfalt und eine Art ungläubiges Staunen ein, während das Bild der erwachenden Blume einen Hinweis darauf liefert, warum Strauss das Lied als Teil seines Geschenks an Lotti auswählte.

aus dem Begleittext von Roger Vignoles © 2012
Deutsch: Arne Muus

Waiting for content to load...
Waiting for content to load...