Three orphaned performances of Vier letzte Lieder came my way, prompting me to create a compilation of Strauss’s deeply personal final opus. Elisabeth Grümmer was nearing the end of her career when she sang this performance, and it's evident that she had to rely on her technical expertise to navigate the high-lying passages of Frühling. As the cycle progresses, she seems more at ease, delivering deeply felt interpretations. Im Abendrot is particularly moving, as she makes effective use of the darker tones her voice had acquired.

That said, Martina Arroyo’s interpretation stood out as my favorite. Strauss isn’t a composer typically associated with her, and hearing this recording makes it a shame that she never took on roles like Chrysothemis or Salome—she likely would have been superb in them. Her voice has a wonderfully rich quality, and she approaches Strauss’s soaring lines with the same ease and finesse as if she were singing bel canto.

The final performance comes from Kiri Te Kanawa, captured in a 1972 recording. Her voice is strikingly fresh, though she may lack the weightiness often associated with these songs. However, she makes excellent use of her youthful timbre, particularly in September, where she navigates the melismatic passages with remarkable fluidity.