Amazon.com essential recording Jessye Norman has what they call in the operatic business an "ample" figure. Judging from this disc, she must be completely hollow inside because she sings the Four Last Songs in what seems like a single breath, and at half the normal speeds. In fact, as sheer sound, this is the most sensual, voluptuous, totally gorgeous vocal record that I have ever heard. Play it for people who think they hate opera singing and they'll be hooked. Words really can't describe the almost decadent richness of Norman's voice, or the way it seems to swell from the speakers and saturate the room with velvety sound. --David Hurwitz Amazon.com Lovers of the Four Last Songs have come to take good recordings of the set for granted. Jessye Norman's early digital account with Kurt Masur and the Leipzigers is one of the best--powerful, sensuous, and very well recorded. Strauss may have conceived the songs with an ideal voice in mind, but he made a point of asking that Kirsten Flagstad give the first performance of the set. Since then, no comparably endowed soprano, in possession of both the tonal richness and the extraordinary amplitude that were Flagstad's, has recorded the Four Last Songs, save for Norman. The tessitura of the cycle is perfect for her--not too high, with almost every phrase lying in the warm, lustrous middle part of the voice--and Norman shapes the words with consummate skill and sensitivity. To hear her soar out over the orchestra, carrying the most demanding phrases with long-breathed splendor, is to enjoy, for a moment, the return of a golden age. --Ted Libbey

德国年轻作曲家，钢琴家Alexander Maria Wagner的第一张个人专辑。"Kraftwerk"是他在14岁时写的交响曲，保加利亚国家交响乐团参与录制。Chromatische/ Diatonische Fantasie是他根据Bach的半音幻想曲改编的作品。