Jessye Norman - Strauss: Lieder (1985)

Not the least of the remarkable features of this album is Norman's German pronunciation. It can hardly be faulted. If there are tiny slips, as once or twice with an American rolled "r" or the soft "ch", they are no more serious than the occasional intrusions of dialect by native German singers' into their vocalisations. Not all of them sing in perfect High German (even though the Kammersänger title demands it!).
The tone is set right from the outset with a vivacious and big-voiced "Ständchen". Praise must be accorded to Geoffrey Parsons, too. He is the ideal foil to Norman's approach. One might miss occasionally the rapt pianissimo which Schwarzkopf and della Casa commanded so apparently effortlessly, but Norman sings such passages with a melting legato tone, so no complaints.
Two of the songs, "Heimliche Aufforderung" and "Befreit", are sung with big voice and quite operatic passion--but these are songs which on their own challenge the chamber quality of the Lied. Touches of this sort depressed Strauss' standing among the elite of Lieder composers. Lovers of Strauss will not worry unduly and find Norman's powerful projection wholly appropriate (and won't mind the showers running down their back!).
Both singer and pianist are recorded quite close, but Parsons is discreet when called for, remaining throughout the trusty servant. In the climaxes where he has to go full pelt, he could rely on Norman's voice riding high above his piano.
There are so many rivals, it seems futile to offer comparisons. Especially since, on the whole, I cannot find serious fault with Norman's interpretation of any of the songs. I merely mention as an example Margaret Price with accompanist Sawallisch, whose album duplicates a number of items. I find Norman significantly more attuned to the Straussian Lieder habitat and her full voice preferable to the occasional straining to which Price must resort (who is also covered by the piano in some of the softer passages).
So altogether an outstanding album--more dramatic than traditional, on account of Norman's voice being bigger than most who sing this repertoire. But in my books wholly Straussian and assured of permanent eminent place in the branch of Strauss Lieder albums.