- Stille Nacht, heilige Nacht (Silent Night)
- Morgen ("Und morgen wird die Sonne wieder scheinen"), song for voice & piano (or orchestra), Op. 27/4 (TrV 170/4)
- Camille Claudel: Into the Fire, for mezzo-soprano & string quartet
- Chansons de Bilitis (3), song cycle for voice & piano, L. 97 (90)
- Molto adagio for string quartet "Mon âme est triste jusq'à la mort"
- Traum durch die Dämmerung ("Weite Wiesen im Dämmergrau"), song for voice & piano (or orchestra), Op. 29/1 (TrV 172/1)
- Ach Lieb, ich muss nun scheiden!, song for voice & piano, Op. 21/3 (TrV 160/3)
- Die Nacht ("Aus dem Walde tritt die Nacht"), song for voice & piano, Op. 10/3 (TrV 141/3)
- All' mein Gedanken, mein Herz und mein Sinn, song for voice & piano, Op. 21/1 (TrV 160/1)
- Du meines Herzens Krönelein, song for voice & piano, Op. 21/2 (TrV 160/2)
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The sculptor Camille Claudel, radical experimentalist and lover and possible influencer of Rodin, has fascinated artists in various media ever since she was institutionalized under controversial circumstances. She has been played on film by both Isabelle Adjani and Juliette Binoche. Now it's the turn of American composer Jake Heggie, who wrote the titular song cycle here for the present performer, American mezzo soprano Joyce DiDonato. The text by Gene Scheer, depicting several major artworks and turning points in Claudel's life, is highly evocative, and Heggie matches it with music that's complementary to the words and extremely flattering to DiDonato's voice. Sample "Shakuntala," which brings to life and into time Claudel's flowing, passionate sculpture of the same name. More radical than Heggie's work is the decision to let its medium, the combination of soprano and string quartet, "bleed" into the Richard Strauss and Debussy songs on the program, which are arranged for the same combination. Your mileage may vary on this, but in the live performance at London's Wigmore Hall, it helped build to Heggie's portrayal of Claudel's obsessive inner world. The audience's rapturous response to all this is retained, as are DiDonato's two encores, which have the relaxed quality (note the humorous false start of "Rudolph, the Red-Nosed Reindeer") of celebration after a job well done. Recommended.