Tracks
1. Danny's Song (Duet with Martina McBride) 4:00
2. I Just Fall In Love Again (Duet with Dusty Springfield) 3:14
3. Another Pot O' Tea (Duet with Emmylou Harris) 3:34
4. Daydream Believer (Duet with Nelly Furtado) 2:51
5. Somebody's Always Saying Goodbye (Duet with Jann Arden) 4:21
6. Song For The Mira (Duet with Celtic Woman) 3:52
7. Time Don't Run Out On Me (Duet with Carole King) 3:30
8. Cotton Jenny (duet with Olivia Newton John) 3:23
9. A Love Song (Duet with k.d. lang) 3:07
10. You Needed Me (Duet with Shania Twain) 3:42

Anne-Sophie Mutter was born in Rheinfelden in Baden. She embarked on her international career as a soloist in 1976 at the Lucerne Festival and a year later made her Salzburg debut at the Whitsun Concerts under Herbert von Karajan, followed by first appearances in the US (1980), Japan (1981) and Russia (1985). She made her first recording with Deutsche Grammophon at the age of 14 with Mozart Violin Concertos nos. 3 and 5 with Karajan and the Berliner Philharmoniker; in the years that followed she recorded concertos by Beethoven (1985), Brahms (1982, 1983), Bruch (1981) and Mendelssohn (1981/2008).

This is certainly one of the great collections of modern music, and it's much to Mutter's credit that she plays this music. She's not just a babe, though that's frequently how she's packaged on CD covers. She can really play, with tremendous fire, for instance, on the great Bartok 2d, or subtlety and nuance on the Berg. The two Lutoslawski's call for rapid changes in style, perhaps Mutter's greatest strength. The lesser known works on this set are really worth it, too--the Moret is dazzling, the Rihm mysterious and beautiful.

Mutter's Mozart violin sonata E minor is unparalleled in its emotional depth. Better than any other recent recordings and even historical recordings by Arthur Grumiaux. Another works are also excellent.

The very first notes of this extraordinary performance show how thoughtfully Anne-Sophie Mutter has approached the work. Sibelius's marking for the solo violin is dolce ed espressivo, which for most violinists would mean "with vibrato." But Mutter plays senza vibrato and achieves a hauntingly expressive effect over the muted pianissimo oscillations of the orchestral violins. Happily, she sustains this high level of engagement with the score through the entire account, playing the taxing solo part with riveting intensity, making every note count, producing a gloriously rich and varied tone, and giving the listener a memorable musical experience in the process. The effect of all this on Andre Previn and the Staatskapelle Dresden, to paraphrase Mark Twain, appears to have been prompt and electric. They give a spectacular reading of the score, one notable for both its sonorous depth and its sense of atmosphere.

As someone who has worked with Lambert Orkis, I can say with some authority that he is unequivocally a genius in the art of accompaniment, and a true wizard at the piano. I have rarely felt such rapport with a pianist, the sort of rapport that effortlessly creates the atmosphere that I would try very hard (and often vainly) to create with a lesser pianist. Without a doubt, I have never felt such masterful support in whatever sonata is at hand. Accordingly, it is no surprise that Orkis’s playing is impeccable in these sonatas, and truly a wonderful complement to any violinist who knows his/her stuff.

To capture the brilliant partnership between violinist Anne-Sophie Mutter and pianist Lambert Orkis, one only has to look to their riveting recording of Beethoven's Violin Sonatas. Over the course of those four CDs, the pair revealed themselves to be a lively, sympathetic team. The same description could be used for this single-CD recital, featuring four very different 20th-century compositions from four very different composers. The spiky nature and high notes of Prokofiev's Sonata stand in direct contrast with George Crumb's Four Nocturnes, a fragmented but short sonic journey filled with subtle harmonics and stark, hallucinogenic movements. Moving to Webern's Four Pieces, Mutter and Orkis literally define the essence of collaboration

Plot: In nineteenth century Yorkshire wealthy orphan Anne Lister lives with an aunt and uncle, anxious for her to marry well and blissfully unaware that she is a lesbian,recording her thoughts and exploits in a coded diary. When her lover Mariana Belcombe makes a marriage of convenience to rich old Charles Lawton,she feels betrayed and,although Mariana visits and has sex with her,the relationship is going nowhere. Helped by old flame Tib she makes a play for innocent Miss Browne but sees she is barking up the wrong tree and diverts herself by renovating the family hall. A drunken Tib almost exposes her secret and scornful mine-owner Christopher Rawson,whose marriage proposal she rejects,tells her that her sexuality is a subject of local gossip. Undeterred Anne meets Ann Walker who becomes her new 'wife' and they open a coal-mine ,living happily together. An end title tells us that Anne Lister died prematurely in 1840 on holiday in Russia.

Anne Sophie von Otter performs works by Korngold with pianist Bengt Forsberg at the Theatre Musical de Paris - Chatelet, 2000. Also featured are Ulf Forseberg and Kjell Lysell on violin, Mats Lidstrom on cello, and Nils-Erik Sparf on viola. The VOICES OF OUR TIME series continues with this profile of singer Anne Sofie Von Otter. Hailing from Sweden, the talented mezzo-soprano has delighted audiences all over the world with her interpretations of many classic works. In this release she pays a warm tribute to Erich Korngold by performing some of his best works. Among them are "Mariettas Lied" from "Die Tote Stadt," "Mond, So Gehst Du Wieder Auf Op. 14-3," "In Meine Innige Nacht Op. 18-1," and many others.