Unsere Weihnachtslieder [Import]

Track Listings

1. Stille Nacht Heilige Nach

2. Susser Die Glocken Nie Kl

3. Leise Rieselt Der Schnee

4. Alle Jahre Wieder

5. Es Ist Ein Ros Entsprunge

6. Still Still Still

7. Aba Haidschi Bumbaidschi

8. Maria Wiegenlied

9. Navidad En Verano

10. Cant Dels Aucells

11. Dios Hecho Nino

12. Mary's Boy Child

13. White Christmas

14. Christmas Medley

15. Weihnachtsgrusse

16. Saludo Navideno

17. Voeux De Noel

18. Christmas Greetings

19. Ole Ole

20. Gloria

Tracks:

Opening Solo Violin
Jeanie With The Light Brown Hair
Hard Times Come Again No More
The Voice Of Bygone Days
Foster Favorites Medley (Ring, Ring The Banjo (1851) Oh! Susanna (1848) Camptown Races (1850)
Open Thy Lattice, Love (1844)
Beautiful Dreamer (1864)
That's What's The Matter
Old Home Medley (Old Folks at Home (1851) My Old Kentucky Home, Good Night (1853)
Molly! Do You Love Me? (1850)
Sweetly She Sleeps, My Alice Fair (1851)
Comrades, Fill No Glass For Me (1855)
Dancing On The River (Nelly Bly (1850) The Glendy Burk (1860) Angelina Baker (1850)
My Wife Is A Most Knowing Woman (1863)
Gentle Annie (1856)
Linger In Blissful Repose (1858)
Ah! May The Red Rose Live Alway (1850)

Customer Reviews:

It's Dreamy.......2007-01-10

This is a very wonderful recording of Stephen Foster by a master singer.
Foster's songs are of a more innocent and naive time in the American psyche, a time that it would not hurt us to remember, given the wretched brutality of American culture today (something you'll appreciate after listening to this recording).

The songs are beautifully sung by Mr. Hamspon, and the musical accompaniment with piano, mandolin, tuba, banjo, etc. seems a perfect setting for this period music. I enjoyed the musical interludes of Foster songs (not sung by Mr. Hampson), such as "Oh, Suzanna", "My Old Kentucky Home", and "Camptown Races." They are foot-stompin' and finger-snappin' good in a non-syncopated way.

Mr. Hampson's voice is so beautiful, and he has done such a wonderful job with these song's you'll just have to hear it, and when you do, tell me that you're not dreaming.

I remember reading a quote by John Phillip Sousa that decried the use of syncopation in American popular music. I never understood it until listening to this recording. The richness and intensity of American popular music (as experienced in the work of Stephen Foster) has been lost.
Everything has to be so cool today, thanks to syncopation, and "cool" really means no emotion.

If emotion is what you want, emotion is what you'll get with Stephen Foster's songs. It was a time when the death of loved ones (especially those who died in their youth) was experienced more often (see "I Dream of Jeannie with the Light Brown Hair" and "Gentle Annie"). And we were not protected from the vicissitudes of fate by myriad government programs, modern medicine and universal prosperity (see "Hard Times").
Husbands and wives had their differences then, as today, (see the amusing song "My Wife is a Most Knowin' Woman") The passion of the Civil War (Foster was a Unionist),is reflected in a wonderful, fun song, "That's What's the Matter."

If you love good music, and you have heart which can be stirred, and you love your country, this is for you.

I love this recording. It has opened up the door to my "beautiful dreams," dreams of bygone days, lost love, and whatever else we pine for.

I wanted to buy several copies for my friends, but somehow I felt that the impact of this recording was so personal, that it could not be shared with others. Not that they couldn't enjoy it, but that I could not begin to share the intense emotion and reverie stirred in my heart by these beautiful songs.

My Favorite Composer of all time.......2006-08-20

Growing up playing his stuff on piano, I love the instrumentality of this CD..the violins give off that wail that he speaks of..I am not sure what it is about Stephen Foster but these verses..grab me like no other..there is so much sensitivity to it..

I dream of Jeannie with the light brown hair
Born like a vapor on the summer air
I see her tripping where the bright streams play
Happy as the daisies that dance on her way
Many were the wild notes her merry voice would pour

but the violins in this CD make this CD the best out there..
FYI should you be into astrology Stephen Foster is definition of Cancer...Sun and Moon conjunct in Cancer with mars in Scorpio..i love his lyrics..almost to the point of obsession..

An American classic from Hampson that brings smiles and tears.......2006-07-17

Stephen Foster was the greatest American composer of sentimental parlor ballads--he so perfectly imitated folk songs that his music wound up turning into them. In an age of home music-making and later of families sitting around the radio, Foster's songs were a staple, often performed by crossover artists from opera like Lawrence Tibbett. Those were plump, ripe styles of singing, highly flavored by church hymns.

In this 1992 collection of 17 Foster favorites, plus a few rareties, Hampson drops the platform manner and goes straight for heartfelt sincerity. His tone is plain yet sweet, his expression intimate. He is accompanied by instruments redolent of the Victorian drawing room (guitar, fiddle, upright piano), and the mood they create brings tears and smiles of remembrance. This music is embedded in America's genes, and it's wonderful to realize that every note is still alive and throbbing with feeling.

OMG!!! More than 10000000000000000000000000000000000000000000000000000000 stars, one of the best album in the world!!!.......2005-11-25

Simply one word, WOW!!!
Thomas Hampson's voice is simply fantasic. His voice is very different from regular operatic baritone voice, very sweet, and rich. I really cant believe an operatic baritone can sing folk song like THIS good, in my opinion he sounds even better than his opera works in this album. His voice and the background music matches perfectly, the outcome would move u to tears, and u can feel the origin of MUSIC. This album really shows what the word MUSIC means, and the songs simply just ALL beautiful. I like his "beautiful dreamer", "my life is well knowing woman", and "jeanie with the light brown hair" the most. When I listen the songs I would just imagine that I am in the world of past USA, and I can feel the life of the ppl in the past USA~ just like watching an old classic movie, it would touch ur heart and fall in love with this album.

It's simply lovely.......2004-12-14

I didn't know Stephen Foster (I thought): wrong: Oh Susanna, etc, I knew, but had no idea who the composer was.

This CD is a revelation. The melodies are so beautiful, as are the poems, and Thomas Hampson just brings them to life as wonderfully as ever. I especially love "Beautiful Dreamer" - it gives me butterflies - and "My wife is a most knowing woman" - the way he makes the voices and the indignation is just brilliant. If one needed reminding what a brilliant singer Mr Hampson is - this disk does it.

Average customer rating:

Recommendable only for the female voices
Klemperer or Bohm in the Mgic Flute?
A Magically-Sung MAGIC FLUTE
And the Queen of the Night will be defeated
You beauty Karl et al.

Mozart: Die Zauberflote

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Beethoven: Fidelio

ASIN: B00004VVZN
Release Date: 2000-08-15

Tracks:

Ov - Philharmonia Orch/Otto Klemperer
Act One: Zu Hilfe! Zu Hilfe! - Nicolai Gedda/Elisabeth Schwarzkopf/Christa Ludwig/Marga Hoffgen
Act One: Der Vogelfanger Bin Ich Ja - Walter Berry
Act One: Dies Bildnis Ist Bezaubernd Schon - Nicolai Gedda
Act One: O Zitt're Nicht, Mein Lieber Sohn! - Lucia Popp
Act One: Hm! Hm! Hm! Hm! - Lucia Popp/Nicolai Gedda/Elisabeth Schwarzkopf/Christa Ludwig/Margo Hoffgen
Act One: Du Feines Taubchen, Nur Herein! - Gerhard Unger/Gundula Janowitz/Ruth-Margret Putz
Act One: Bei Mannern, Welche Liebe Fuhlen - Gundula Janowitz/Walter Berry
Act One: Zum Ziele Furht Dich Diese Bahn - Agnes Giebel/Anna Reynolds/Josephine Veasey/Nicolai Gedda/Philharmonia Chor/Wilhelm Pitz...
Act One: Wie Stark Ist Nicht Dein Zauberton - Nicolai Gedda
Act One: Schnelle Fusse, Rascher Mut - Gundula Janowitz/Walter Berry/Gerhard Unger/Philharmonia Chor/Wilhelm Pitz
Act One: Konnte Jeder Brave Mann - Gundula Janowitz/Walter Berry
Act One: Es Lebe Sarastro! - Philharmonia Chor/Wilhelm Pitz/Ruth-Margret Putz/Gundula Janowitz/Gottlob Frick
Act One: Nun, Stolzer Jungling; Nur Hierher! - Gerhard Unger/Gundula Janowitz/Nicolai Gedda/Philharmonia Chor/Wilhelm Pitz/Gottlob Frick

Tracks:

Act Two: Marsch Der Priester - Philharmonia Orch/Otto Klemperer
Act Two: O Isis Und Osiris - Gottlob Frick/Philharmonia Chor/Otto Klemperer
Act Two: Bewahret Euch Vor Weibertucken - Philharmonia Chor/Otto Klemperer
Act Two: Wie? Wie? Wie? - Elisabeth Schwarzkopf/Christa Ludwig/Marga Hoffgen/Walter Berry/Nicolai Gedda/Philharmonia Chor...
Act Two: Alles Fuhlt Der Liebe Freuden - Gerhard Unger
Act Two: Der Holle Rache Kocht In Meinen Herzen
Act Two: In Diesen Heil'gen Hallen - Gottlob Frick
Act Two: Seid Uns Zum Zweiten Mal Willkommen - Agnes Giebel/Anna Reynolds/Josephine Veasey
Act Two: Ach, Ich Fuhl's - Gundula Janowitz
Act Two: O Isis Und Osiris - Philharmonia Chor/Otto Klemperer
Act Two: Soll Ich Dich, Teurer - Gundula Janowitz/Gottlob Frick/Nicolai Gedda
Act Two: Ein Madchen Oder Weibchen - Walter Berry
Act Two: Bald Prangt, Den Morgen Zu Verkunden - Agnes Giebel/Anna Reynolds/Josephine Veasey/Gundula Janowitz
Act Two: Der, Welcher Wandelt Diese Strausse Voll Beschwerden - Philharmonia Orch/Otto Klemperer
Act Two: Der, Tamino Mein! O Welch Ein Gluck! - Philharmonia Chor/Wilhelm Pitz/Nicolai Gedda/Gundula Janowitz
Act Two: Papagena! - Walter Berry/Agnes Giebel/Anna Reynolds/Josephine Veasey
Act Two: Pa-pa-ge-na! ...Pa-pa-ge-no! - Walter Berry/Ruth-Margret Putz
Act Two: Nur Stille! - Gerhard Unger/Lucia Popp/Elisabeth Schwarzkopf/Christa Ludwig/Marga Hoffman
Act Two: Die Strahlen Der Sonne - Gottlob Frick/Philharmonia Chor/Wilhelm Pitz

Customer Reviews:

Recommendable only for the female voices.......2007-05-25

Never have the parts of Pamina and Queen of the Night been sung more perfectly and beautifully than by Gundula Janowitz and Lucia Popp on this recording. Their performances alone make it worth purchasing this CD set. Elisabeth Schwarzkopf, Christa Ludwig and Marga Höffgen as the three ladies are also pure joy to listen to. But the male voices are - I am sad to say - just good average. Here, the still unsurpassed standard is the Böhm recording (also from the early 1960s) with Fritz Wunderlich as Tamino, Dietrich Fischer-Dieskau as Papageno and Franz Crass as Sarastro. You need both Böhm and Klemperer to get an idea of the full artistic potential of this opera.

Klemperer or Bohm in the Mgic Flute?.......2006-07-12

The recent appearance of an excellent Magic Flute from Abbado (DG) prompted me to go back to two great favorites, this Klemperer set from 1964 and one from Karl Bohm made the same year for DG. Between them they included probably the greatest Mozart singers of the time in Europe. As listeners could hear immediately, the strengths of one cast were offset by the strengths of the other. Klemperer had the best women (Janowitz, Popp, Schwarzkopf, Ludwig) while Bohm had the two best men (Wunderlich and Fischer-Dieskau). For foty years fans of the opera have had to own both. Is that sitll the case?

The new Abbado recording could represent a way out of this Solomon's choice, since it is filled with eager, accomplished singing in every part except for the well-sung but prosaic Papageno of Hanno Müller-Brachmann. Otherwise, I think I'd favor Klemperer if I had to choose only one classic set. The pluses and minuses are as follows:

Klemperer: Always a good recording, the new remastering in EMI's Great Recordings of the CEntury is nearly perfect. The Three Ladies are enchanting as led by Schwarzkopf and Ludwig. The young Lucia Popp is a scintillating Queen of the Night, and Gundula Janowitz a pure, if rather cool Pamina. Also, one cannot discount Gedda's Tamino and Berry's Papageno, which are very well sung if not the best on CD. For many listeners what tilts the balance is Klemperer's magnificent conducting--he may well have been the greatest Mozart conductor of the century. What may tilt the balance the ohter way is the absence of spoken dialogue, a regrettable older practice in Mozart opera recordings. Note that because of its many reissues, this Flute can be had in its older version for around $10 on the used market, and even the new remaastering is under $20.

Bohm: Where Bohm's set is strongest it can't be beat: the once-in-a-lifetime Tamino of Fritz Wunderlich and the masterful, humorous Papageno of Fischer-Dieskau. They, combined with Bohm's expert, if rather measured conducting, have won many listeners over. Unfortunately, Bohm's weaknesses are very weak indeed: a too-mature Pamina from Evelyn Lear that sounds unpleasantly insecure in tone and pitch, and a thin, shrieky Queen of the Night from Roberta Peters, well past her prime. If you can't overlook these two, there's no need even to consider Bohm. Lots of dialogue is included, and for once the echt Deutsch acting is funny.

I wound up owning Abbado, Klemperer, and Bohm, but if you aren't so inclined, I'd say that Klemperer is indispensable and Abbado a gratifying, balanced compromise.

A Magically-Sung MAGIC FLUTE.......2006-02-11

Certainly the best SUNG version around, if not the best CONDUCTED version - Klemperer has his moments of brillance, but some of the music drags when it should dance (parts of the overture, Papageno & Papagena's duet), and is manic when it should be lyrical or slow. Still, there are truly lovely magical muscial moments to be found, despite this. Janowitz's Pamina is a delight, as is Berry's Papageno, and Popp is probably the best Queen of the Night on CD out there, with an almost unearthly pure voice befitting the character - so if you love her two highlight arias then this is a definite for your collection.

And the Queen of the Night will be defeated.......2005-11-23

One of the first innovations Mozart imposes onto the opera genre is the use of small dialogs between the arias to set up some dramatic elements in a light way, very easy to understand and integrate. That gives lightness and speed to the opera. We can't but think of the pantomime genre the English likes so much. Mozart plunges his imagination in old Egyptian beliefs and myths, Isi and Osiris first of all, of course. But he also refers to Selene the Goddess of the night and the moon, and her three Ladies representing the triple Goddess of old who will be defeated in the end in her triple femininity trying to dominate the world. We cannot but think of the reverse use of the triple Goddess, in a christianised form, by Goethe in his Second Faust when he decides to redeem Faust and save him from damnation. Mozart is constantly speaking of love and love affairs that are crossing, entertwining in all possible knots. That should lead to tragedy and many deaths. But Mozart is a believer in peace and peaceful solutions. So he leads his strifing lovers and his ambitious kings and queens to realizing that freedom of choice is the only solution and it has to be accepted by all. The social vision Mozart carries in him is very consensual even if it is for total freedom and change. And the music dances in our ears like the stuttering of Papageno when uttering his name. Mozart associates all extremes together and remembers that his two priests are the reincarnation of Boaz and Jachin, the two pillars, the two masters, the two figures that loom behind Solomon's Temple, the background of Mozart's freemason friends. He thus defeats the Queen of the Night with nothing but notes on the lines of his score. Boaz is the stable basis and Jachin invents all kinds of innovations that destabilize the poor Queen and the establishment without crashing them to the ground, just making them step back and accept the freedom of these sorcerer's apprentices, this Papageno that can charm and tame all birds, or this Pamina that only wants love both for herself and for her tyrannical mother, or the deep voice of Sarastro that makes our souls shudder with pleasure and fear, exhilaration and awe.

Dr Jacques COULARDEAU, Université Paris Dauphine, Université Paris I Panthéon Sorbonne

You beauty Karl et al........2005-10-03

Mate: Don't spend your hard earnt on anything other than this. Why? i) This is Mozart's second (or third) greatest opera after MoF and the Don? ii) Fritz W (his death was a tragedy) is extraordinary in an age that rightly celebrates Pavarotti!!!, iii) DFD - peerless - what a voice!!, iv) the ladies (much criticised) are splendidly discordant and iv) Bohm is just spectacular, near to a miniscule-beat behind his singers. Buy, buy, buy. All else is diminished - why else would DGG keep dragging this magnificent performance out of its archives? As J.M. Keynes said: "demand calls forth supply"!

Average customer rating:

A Must Have
Just enough to hear Christa Ludwig.
Great conductor, orchestra and cast in classic "Fidelio"
1st half wonderful, 2nd not so great (tenorial nightmare)
VICKERS IS A WONDERFUL FIDELIO

Beethoven: Fidelio

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004VVZB
Release Date: 2000-08-15

Tracks:

Fidelio: Ouveture (Orchester)
Fidelio: Act I: Nr. 1 - Duett Jetzt, Schatzchen, jetz sind wir allein (Jaquino) (Marzelline)
Fidelio: Act I: Rezitativ Der arme Jaquino dauert mich beinahe
Fidelio: Act I: Nr. 2: Arie Owar ich schon mit dir vereint (Marzelline)
Ludwig Van Beethoven: Act I: Rezitativ Guten Tag, Marzelline. 1st Fidelio noch nicht zuruck? (Rocco) (Marzelline) (Leonore)
Fidelio: Act I: Nr. 3: Arie Mir ist so wunderbar (Marzelline) (Leonore) (Rocco) (Jaquino)
Fidelio: Act I: Rezitativ - hore, Fidelio, weibt du, was ich tue?
Fidelio: Act I: Nr. 4: Arie (Rocco)
Fidelio: Act I: Rezitativ - Ihr konnt das leicht sagen, meister rocco (Leonore) (Rocco) (Marzelline)
Fidelio: Act I: Nr. 5: Terzett
Fidelio: Act I: Der Gouverneur ... der gouverneur sol heut' erlauben
Fidelio: Act I: Nur auf der Hut, dann geht es gut (Rocco) (Leonore) (Marzelline)
Fidelio: Act I: Nr. 6 - march (Orchester)
Fidelio: Act I: Rezitativ Wo sind die Depeschen? (Don Pizarro) (Rocco)
Fidelio: Act I: Nr. 7 - Arie mit Chor Ha! Welch' eni Augenblick! (Don Pizarro) (Chorus)
Ludwig Van Beethoven: Act I: Hauptmann, besteigen Sie mit einem Trompeter sogleich den Turm
Fidelio: Act I: Nr. 8 - Duett Jetz, Alter, jetzt hat es Eile! (Don Pizarro) (Rocco)
Fidelio: Act I: Nr. 9 - Rezitativ Abscheulicher! Wo eilst du hin?
Fidelio: Act I: und Arie - Komm, Hofgnung, lab den letzten stern (Leonore)
Ludwig Van Beethoven: Act I: Rezitativ Rocco, 1h verspracht mir so oft (Leonore) (Marzelline) (Rocco)
Fidelio: Nr. 10 - Finale O welch Lust! (Chorus)
Fidelio: Act I: Wir wollen mit vertrauen auf Gottes Hulfe bauen (Zweiter Gefangener) (Chorus)
Fidelio: Act I: Nun sprecht, wie ging's (Leonore) (Rocco)
Ludwig Van Beethoven: Act I: Arch! Vater, eilt! (Marzelline) (Rocco) (Jaquino) (Leonore)
Fidelio: Act I: Verwegener Alter (Don Pizarro) (Rocco)
Fidelio: Act I: Leb wohl, du warmes Sonnenlicht (Chorus) (Marzelline) (Leonore) (Jaquino) (Don Pizarro) (Rocco)

Tracks:

Ludwig Van Beethoven: Act II: Nr. 11: Introduktion (orchester)
Ludwig Van Beethoven: Act II: und Arie gott! Welch' Dunkel hier
Ludwig Van Beethoven: Act II: In des Lebens Fruhlingstagen
Ludwig Van Beethoven: Act II: Und spur' ich nicht linde (Florestan)
Ludwig Van Beethoven: Act II: Nr. 12: Melodram Wie Kalt ist es
Ludwig Van Beethoven: Act II: und Duett - Nur hurtig fort, nur frisch gegraben (Leonore) (Rocco)
Ludwig Van Beethoven: Act II: Rezitative Er erwacht! (Leonore) (Rocco) (Florestan)
Ludwig Van Beethoven: Act II: Nr: 13 Terzett - Euch werde Lohn in besser'n Welten (Florestan) (Rocco) (Leonore)
Ludwig Van Beethoven: Act II: Rezitativ Vater Rocco! (Rocco) (Leonore) (Florestan) (Don Pizarro)
Ludwig Van Beethoven: Act II: Nr. 14 - Quartett Er sterbe! (Rocco) (Leonore) (Florestan) (Don Pizarro)
Ludwig Van Beethoven: Act II: Rezitativ Vater Rocco! (Jaquino) (Rocco)
Ludwig Van Beethoven: Act II: Es schlagt der Rache Stund! (Leonore) (Florestan) (Don Pizarro) (Rocco)
Ludwig Van Beethoven: Act II: Nr. 15 - Duett O namenlose Freude! (Leonore) (Florestan)
Ludwig Van Beethoven: Act II: Nr. 16 - Finale Heil sei dem Tag (Chor)
Ludwig Van Beethoven: Act II: Des besten Konigs Wink und Wille (Chorus) (Don Fernando)
Ludwig Van Beethoven: Act II: Wohlan! So helfet, helft den Armen! (Rocco) (Don Pizarro) (Don Fernando) (Leonore) (Marzelline) (Rocco)
Ludwig Van Beethoven: Act II: Du schlossest auf des Edlen Grab (Don Fernando)
Ludwig Van Beethoven: Act II: O Gott! O welch' ein Augenblick! (Rocco) (Don Pizarro) (Don Fernando) (Leonore) (Marzelline) (Rocco)
Ludwig Van Beethoven: Act II: Wer ein holdes Weib errungen (Rocco) (Don Pizarro) (Don Fernando) (Leonore) (Marzelline) (Rocco)
Ludwig Van Beethoven: Act II: Ouverture - Lenore nR. 3

Amazon.com essential recording

Under Klemperer, a maestro with roots in a great operatic tradition, this is a monumental, authoritative performance. From the very beginning of the Fidelio Overture, tempi are slow, deliberate, expansive: every note is important and vibrantly alive; every vocal and instrumental line stands out; there is time for poised changes and transitions. Chorus and orchestra are splendid; not only do all the soloists sing fabulously, but using all their vocal resources to bring out the character of words and music, they create real people and situations, mood and atmosphere. With a mostly German cast, even the spoken dialogue seems to aid rather than disrupt the drama. Berry is a wonderfully venomous villain, yet he sings every note accurately; Vickers, darkening his voice, makes Florestan more resigned than heroic, breathless in his ecstatic hallucination. Ludwig's voice is flawless over a huge range, warm yet gloriously radiant; she is an ideal Leonore in style, expression, and characterization. --Edith Eisler

Customer Reviews:

A Must Have.......2007-02-25

Klemperer's Fidelio as remastered here is well deserving of its status as a "Great recording of The Century" by EMI. The sound is as clear as a digital recording and allows all the nuances of the orchestra and singers to be heard. Beethoven's opera is underrated I believe, and with this recording one can see why. The drama and emotion of the story are even more enhanced by the superb phrasing and dynamic contrast of Klemperer's interpretation. This recording should definitely ascend the ranks of your collections quite rapidly and you will enjoy it for a long time.

Just enough to hear Christa Ludwig........2007-01-31

For many years, Ms. Ludwig has been the leading mezzo in Germany, and not without good reasons.
Since her younger days when she sang Cosi fan tutte with Lisa della Casa for Karl Boehm's first recording of the opera, she has been a most promising mezzo-soprano on an international level. And her voice developed to even better dimensions as she ages.
Comparing with today's Cecilia Bartoil, Christa Ludwig not only enjoyed longer vocal brilliance, but also a much wider repertoire.
Some would say that Sena Jurinac's Klemperer Fidelio is better. That may be the case, but for reasons quite other than Ludwig's performance. Jurinac was a soprano, and Ludwig a mezzo. Leonora (Fidelio)'s role may either be tackled by a soprano or a mezzo, as in Wagner's Brunnhilde.
If you heard another brilliant German soprano Gundula Janowitz's Bernstein Fidelio, you would not have questioned the choice of Ludwig in the present recording. As Elisabeth Schwarzkopf said last January in an interview, Ludwig's voice is uncommon - it is very full. In the high, middle and low registers, I would add.
This is a major attribute that allowed her to tackle Leonora's role with brilliance. Even if her upper is not as brilliant as, say, Jurinac, or Mattila, her middle and lower registers more than compensate for that.
Another very 'different' Fidelio is Hildegard Behrens. Not a big voice, but with such sweet charm and boyish tinge that you would not have wondered why Marcellina gave up Jaquino for this 'fake' Fidelio. Either you catch the character's charm, or the character's determination. If best, you come with both. Christa Ludwig's voice scored well in both ends.
Jon Vickers' Florestine sounds too stout for me, though vocally very attractive.
Was Florestine not near to the end of his life by starvation when he appeared in the Second Act? I wonder why most critics called for a ''big voice'' in Don Florestine's role.

Great conductor, orchestra and cast in classic "Fidelio".......2006-02-24

Source: 1962 studio recording produced by Walter Legge.

Sound: State-of-the-art 1960s analog stereo, digitally remastered in 2000.

Cast: Leonore / Fidelio - Christa Ludwig; Florestan - Jon Vickers; Rocco - Gottlob Frick; Don Pizarro - Walter Berry; Marzelline (singing) - Ingeborg Hallstein; Marzelline (dialogue) - Elizabeth Schwarzkopf; Jaquino - Gerhard Unger; Don Fernando - Franz Crass; First Prisoner - Kurt Wehofschitz; Second Prisoner - Raymond Wolansky. Conductor: Otto Klemperer with the Philharmonia Chorus and Orchestra.

Text: Spoken German dialogue is included but radically shortened to serve as little more than connective tissue between the musical elements.

"Fidelio" is the work of a man whose natural home was the concert platform, not the theater. It is burdened with long patches of dull and forgettable music interspersed with stunning musical brilliance. It is set in the form of a "rescue play," a tired cliche even in Beethoven's time. In the midst of flat, conventional forms it manages to extol love--albeit married love--in passages even more ecstatic than Wagner achieved in "Tristan und Isolde." The roles of Leonore / Fidelio and Florestan have proved fully worthy of the talents of the most heroically-voiced singers of every generation since the opera's premiere during the Napoleonic Wars. Beethoven's "Fidelio" is flawed, but it is a true masterpiece.

For many years, this performance of "Fidelio" was widely acclaimed as the finest of all recorded versions of Beethoven's only opera. As I write this, forty-four years after its initial issue, there are still many who rate it above all its successors. The conductor was a great master of what is now regarded as the old school of Beethoven performance (a damaging indictment to some listeners and a refreshing relief to others.) The orchestra was at its fabulous peak. The four lead singers, Ludwig, Vickers, Frick and Berry were each international stars of the first magnitude. The current re-issue of the set is sumptuously presented--at least by the unimpressive standards of CDs--and offered at a bargain price.

For all these reasons, the only reasonable rating is five stars.

Great as it is, however, this "Fidelio" is not above criticism. The perfect "Fidelio," in fact, remains as perpetually elusive as the perfect "Traviata."

This recording is one of a series of masterworks made under the auspices of the imperious Walter Legge, head of Artists and Repertory for EMI (and, incidentally, husband of Elizabeth Schwarzkopf.) It may be said to have begun with a series of live performances conducted by Klemperer at Covent Garden in 1961. (A live recording is available at an outrageous price from Testament.) The principal singers at Covent Garden were Sena Jurinac as Fidelio, Jon Vickers as Florestan, Gottlob Frick as Rocco and Hans Hotter as Don Pizarro. Klemperer wished to bring all of them to the recording studio but Legge had other ideas. As usual, Legge got his way, bringing over only Vickers and Frick.

Klemperer's "Fidelio" is gravely measured and monumental, but not particularly theatrical. Some parts, most notably the chorus of soldiers preceding the entrance of Don Pizarro, have justly been criticized as too slow.

Christa Ludwig was one of the great singers of the Twentieth Century. Her Leonora was exquisitely thought out and brilliantly presented. But she was a mezzo-soprano. Excellent as she undoubtedly was, she was not quite a perfect fit in a role that positively cries out for a great soprano. I am wholly in agreement with those who say that for once Legge was in error when he refused to record the luminous Sena Jurinac.

Jon Vickers was a gigantic presence. I saw him do Florestan with the San Francisco Opera. He held us all in thrall. If he had a fault, it was a tendency to over-think his parts. Here, the details and mechanisms of his characterization are just a bit too apparent--some have said too sugary--and they are slightly out of phase, I think, with Klemperer's more abstract vision. Whatever one may believe about his acting, he sings magnificently.

Gottlob Frick is probably as good as anybody who has ever essayed Papa Rocco, a basically conventional and quite tedious part, save for his big duet with Fidelio in Act II.

Walter Berry was an admirable singer and very effective as Don Pizarro, but villainous characters were not his strength as a performer. Some have held that he did not achieve the sheer malignancy that Hotter spewed so generously over Covent Garden. My own opinion, for what it's worth, is that neither of them could match Gustav Neidlinger as the hateful Pizarro.

Gerhard Unger was perfectly competent in what is effectively the throw-away part of Jaquino. Ingeborg Hallstein has been about equally praised and denounced for the youthful tremulousness she brought to Marzelline.

For those who know "Fidelio" well, this is the standard recording. For those who wish to become acquainted with an operatic wonder, this is as good an introduction as may be found.

1st half wonderful, 2nd not so great (tenorial nightmare).......2005-02-05

Why do so many of the reviews of this recording focus on the tenor when they should focus on how great the (mezzo) soprano Ludwig is?

The first half is great because the main tenor is absent (and Gottlob Frick is always fun).

The second half is where the rot sets in when the dreaded Jon Vickers makes his first appearance and we start to hear the unfocussed protruding 'e'-vowel. This spoils an otherwise outstanding recording. Sigh. See my review of the Karajan Tristan/EMI recording for more on this horrible phenomenon.

Whilst I've given this 4 stars, the 5 star rating must go to the Fricsay recording on DG -- the fabulous Ernst Haefliger doesn't have an 'e'-vowel problem. :-)

VICKERS IS A WONDERFUL FIDELIO.......2004-09-25

I LOVE THIS RECORDING OF FIDELIO - BUT THEN I AM A BIG BIG FAN OF JON VICKERS. HIS PERFORMANCE AS FIDELIO IS VERY MOVING AND WHEN HE SINGS "FREIHEIT, FREIHEIT" IT BRINGS CHILLS. THE ACTING AND THE SINGING ARE FIRST CLASS.

Average customer rating:

Poor Senta gets a disc change!
A "Dutchman" without a Dutchman--serious problem
A Stunning "Dutchman"
A minority view
Best Flying Dutchman

Wagner: Der fliegende Holländer

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004VW0J
Release Date: 2000-08-15

Tracks:

Ov - New Philharmonia Orch/Otto Klemperer
Act One, Scene One. I. Intro: Hojohe! Hallojo! - BBC Chor/Peter Gellhorn/Martti Talvela/Gerhard Unger
Act One, Scene One. Lied Des Steuermanns: Mit Gewitter Und Sturm Aus Fernem Meer - Gerhard Unger
Act One, Scene Two. II. Rezitativ & Arie: Die Frist Ist Um - Theo Adam
Act One, Scene Two. II. Rezitativ & Arie: Wie Oft In Meeres Tiefsten Schlund - Theo Adam
Act One, Scene Two. II. Rezitativ & Arie: Dich Frage Ich, Gepries'ner Engel Gottes - Theo Adam
Act One, Scene Two. II. Rezitativ & Arie: Nur Eine Hoffnung Soll Mir Bleiben - Theo Adam/BBC Chor/Peter Gellhorn
Act One, Scene Three. III. Szene, Duett & Chor: He! Holla! Steuermann! - Martti Talvela/Gerhard Unger
Act One, Scene Three. III. Szene, Duett & Chor: Weit Komm' Ich Her - Theo Adam/Martti Talvela
Act One, Scene Three. III. Szene, Duett & Chor: Durch Sturm Und Bosen Wind Verschlagen - Theo Adam
Act One, Scene Three. III. Szene, Duett & Chor: Wie Wunderbar! Soll Deinem Wort Ich Glauben? - Martti Talvela/Theo Adam
Act One, Scene Three. III. Szene, Duett & Chor: Was Muss Ich Horen?...Hast Du Eine Tochter? - Martti Talvela/Theo Adam
Act One, Scene Three. III. Szene, Duett & Chor: Wohl, Fremdling, Hab' Ich Eine Schone Tochter - Martti Talvela/Theo Adam
Act One, Scene Three. III. Szene, Duett & Chor: Wenn Aus Der Qualen Schreckgewalten - Martti Talvela/Theo Adam
Act One, Scene Three. III. Szene, Duett & Chor: Sudwind! Sudwind! - Gerhard Unger/BBC Chor/Peter Gellhorn/Martti Talvela/Theo Adam
Act One, Scene Three. III. Szene, Duett & Chor: Mit Gewitter Und Sturm Aus Fernem Meer - BBC Chor/Peter Gellhorn
Act Two: Intro - New Philharmonia Orch/Otto Klemperer
Act Two, Scene One. IV. Lied (Chor Der Spinnerinnen), Szene, Ballade & Chor: Summ Und Brumm, Du... - BBC Chor/Peter Gellhorn/Annelies Burmeister
Act Two, Scene One. IV. Lied (Chor Der Spinnerinnen), Szene, Ballade & Chor: Du Boses Kind... - Annelies Burmeister/BBC Chor/Peter Gellhorn/Anja Silja
Act Two, Scene One. IV. Lied (Chor Der Spinnerinnen), Szene, Ballade & Chor: O Macht Dem... - Annelies Burmeister/BBC Chor/Peter Gellhorn/Anja Silja
Act Two, Scene One. Sentas Ballade. I: Johohoe! ...Traft Ihr Das Schiff Im Meere An - Anja Silja
Act Two, Scene One. Sentas Ballade. II: Bei Bosem Wind Und Sturmes Wut - Anja Silja/BBC Chor/Peter Gellhorn
Act Two, Scene One. Sentas Ballade. III: Vor Anker Alle Sieben Jahr' - Anja Silja

Tracks:

Act Two, Scene One. Sentas Ballade: Ach! Wo Weilt Sie - BBC Chor/Peter Gellhorn/Anja Silja/Annelies Burmeister/Ernst Kozub
Act Two, Scene Two. V. Duett: Bleib, Senta! Bleib Nur Einen Augenblick! - Ernst Kozub/Anja Silja
Act Two, Scene Two. V. Duett: Mein Herz, Voll Treue Bis Zum Sterben - Ernst Kozub/Anja Silja
Act Two, Scene Two. V. Duett: Wie? Zweifelst Du An Meinem Herzen? - Ernst Kozub/Anja Silja
Act Two, Scene Two. V. Duett: Fuhlst Du Den Schmerz, Den Tiefen Gram - Ernst Kozub/Anja Silja
Act Two, Scene Two. V. Duett: Auf Hohem Felsen Lag Ich Traumend - Ernst Kozub/Anja Silja
Act Two, Scene Two. V. Duett: Ach Mochtest Du, Bleicher Seemann - Anja Silja
Act Two, Scene Three. VI. Finale: Mein Kind, Du Siehst Mich Auf Der Schwelle - Martti Talvela/Anja Silja
Act Two, Scene Three. VI. Finale. Arie: Mogst Du, Mein Kind, Den Fremden Mann - Martti Talvela
Act Two, Scene Three. VI. Finale. Arie: Doch Keines Spricht - Martti Talvela
Act Two, Scene Three. VI. Finale. Duett: Wie Aus Der Ferne Langst Vergangner Zeiten - Theo Adam
Act Two, Scene Three. VI. Finale. Duett: Versank Ich Jetzt In Wunderbares Traumen - Anja Silja/Theo Adam
Act Two, Scene Three. VI. Finale. Duett: Wirst Du Des Vaters Wahl Nicht Schelten? - Anja Silja/Theo Adam
Act Two, Scene Three. VI. Finale. Duett: Du Bist Ein Engel! - Anja Silja/Theo Adam
Act Two, Scene Three. VI. Finale. Duett: Ein Heil'ger Balsam Meinen Wunden - Anja Silja/Theo Adam
Act Two, Scene Three. VI. Finale. Terzett: Verzeiht! Mein Volk Halt Draussen Sich Nicht Mehr - Martti Talvela/Anja Silja/Theo Adam
Act Three, Scene One. VII. Chor Der Norwegischen & Ensemble: Zwischenspiel/Steuermann, Lass Die... - New Philharmonia Orch/Otto Klemperer/BBC Chor/Peter Gellhorn
Act Three, Scene One. VII. Chor Der Norwegischen & Ensemble: Mein! Seht Doch An! Sie Tanzen Gar! - BBC Chor/Peter Gellhorn/Gerhard Unger
Act Three, Scene One. VII. Chor Der Norwegischen & Ensemble: Juchhe! Juchhe! Da Gibt's Die Fulle! - BBC Chor/Peter Gellhorn/Gerhard Unger
Act Three, Scene One. VII. Chor Der Norwegischen & Ensemble: Johohoe! Johohoe! - BBC Chor/Peter Gellhorn
Act Three, Scene Two. VIII. Finale. Duett: Was Muss Ich Horen! Gott, Was Muss Ich Sehn! - Ernst Kozub/Anja Silja
Act Three, Scene Two. VIII. Finale. Cavatine: Willst Jenes Tags Du Nicht Dich Mehr Entsinnen - Ernst Kozub
Act Three, Scene Two. VIII. Finale. Cavatine: Verloren! Ach, Verloren! - Theo Adam/Ernst Kozub/Anja Silja
Act Three, Scene Two. VIII. Finale. Cavatine: Erfahre Das Geschick, Vor Dem Ich Dich Bewahr'! - Theo Adam
Act Three, Scene Two. VIII. Finale. Cavatine: Zu Hilfe! Rettet, Rettet Sie! - Ernst Kozub/Anja Silja/Martti Talvela/Annelies Burmeister/BBC Chor/Peter Gellhorn/Theo Adam

Amazon.com essential recording

Recorded evidence preserves a regretfully skewed view of Otto Klemperer's Wagner. Happily, this 1968 recording of Der fliegende Holländer captures the aged Otto Klemperer at his inspired and disciplined best. The vivid detail and expressive intensity of the orchestra playing begs description, and Suvi Raj Grubb's resplendent production sounds as fresh as today's best digital engineering, especially in EMI's 20-bit remastering. Anja Silja's Senta is arguably her most absorbing major Wagnerian portrayal on disc, in terms of both singing and acting. Likewise, Theo Adam, in excellent form, inflects the title role with unusual care for words. Ernst Kozub is as brash and brazen an Erik as they come (which is good!), and Martti Talvela's weighty yet flexible Daland hardly has been bettered, past or present. Yet the individual contributions yield to the remarkable sense of ensemble give and take--not just between the singers themselves, but in the way the orchestra leads, supports, and comments upon the sung text. Full texts and translations plus excellent annotations clinch this set's essential status as both the basic Flying Dutchman on disc and Otto Klemperer's finest recording of an opera. --Jed Distler

Customer Reviews:

Poor Senta gets a disc change!.......2006-12-20

I do like this recording and agree with the other reviews. But, there is a major editing mistake. Senta's aria is interrupted by a disc change. What a mistake! Still, I would recommend this recording despite this unfortunate break in dramatic flow.

A "Dutchman" without a Dutchman--serious problem.......2005-09-28

EMI brought out two Flying Dutchman recordings that went to the top of the list, this one under Klemperer and a later one under Karajan. Both had excellent sound, orchestral playing, and ocnducting, along with outstanding choruses (Klemperer, however, had the edge here with the masterful Wilhelm Pitz as his choral director).

Unfortunately, both sets had a serious flaw, and as it happened they were opposites. Karajan's Senta is the harsh-voiced, rather fierce Slavic soprano Dunja Vejkovic, Klemperer's Dutchman is the faceless, dry-voiced workman Theo Adam. Over the years neither defect has improved, so either you listen to these classic sets and skirt around the flaws--hard to do, given how much music Senta and the Dutchman sing together--or you go elsewhere. Personally, I went to the recent Sinopoli on DG and a live performance under Sawallisch on super-budget Opera d'Oro

A Stunning "Dutchman".......2005-06-14

Written in 1840, Der Fliegende Hollander was Wagner's second opera, (and after the 6-hour Rienzi, his shortest opera), and it is often considered his most "Italiante" in feel and lyrical quality. It's also extremely Romantic in style--you can feel the wind on your face and taste the salt spray.
It makes for an excellent introduction to Wagner's operas, and while there really are no bad recordings of this opera, this recording is one of the best. The great conductor Otto Klemperer was 82 when he made this recording, and although he made a couple of more recordings, this is generally considered his last great recording. His tempi are slow, but intense and purposeful and the opera never drags.
His cast is also excellent. Theo Adams makes a powerful, poignant Dutchman, with an edge to his voice that I found very moving. Many critics consider Anja Silja's performance of Senta to be the definitive interpretation, and while Leonie Rysanek or Astrid Varnay are also in the top flight, Silja is a superb singing actress who clearly convey's Senta's almost frightening intensity. Martti Talvela has got to have one of the richest bass voices of the 20th century, Ernst Kozub is ardent and in-your-face as Eric, and Gerhard Unger brings wonderful musicality to the role of the Steersman. Mention should be made of the chorus, which sings its large role with tremendous excitement. This recording is an excellent addition to any opera collection.

A minority view.......2004-09-28

I'm afraid I just don't get the enthusiasm others have for this recording. My principal problem is with Klemperer's speed, or rather the lack thereof. He's the only conductor I know who can make *everything* sound as long as Parsifal (even when the actual minutes aren't that different from other recordings). Here the Dutchman can barely sail, much less fly. I don't remember my dates well enough to know if this recording was made before or after Karajan did his best to ruin Silja's voice, but the top notes are pretty harsh here, though some of the role is nicely done. There are other recordings of this opera that have much to offer; check out the Konwitschny on Koch/Berlin with Fischer-Dieskau and Wunderlich, or the RCA with Dorati.

Best Flying Dutchman.......2004-01-29

This is the best Flying Dutchman ever!! The fantastically intense Otto Klemperer brings his famed intensity to this masterpiece. Klemperer was performing the Flying Dutchman at Convent Garden at about the same time this recording was made. The stage experience and intensity of the 'live' performances has obviously carried over into this recording. This is the top recommended version by Gramophone, and it is indeed worthy of the Great Recording of the Century series. The Philharmonia plays superbly intense. Wind, sea and storm all come across vividly. Anja Silja is the personification of Senta's obsession with the Dutchman. From her entry, you KNOW what is the conclusion of the story - that she is so obsessed about the Dutchman that she will finally jump over the cliff for him. That last high B is fantastic!! Ernst Kozub as Erik is interesting for 2 reasons. One is that he really makes a great Heldentenor in the freakishly difficult role of Erik. The second reason is that he was the original Siegfried for Solti's Ring. So this recordings is valuable in preserving a 'what-might-have-been' for us to hear. Marti Talvela as usual is never less than fantastic - I need say no further. Theo Adam is the Dutchman to the core!!

Very highly recommended!! Don't pass by the chance to hear Klemperer's last great recording!!

R. Strauss - Ariadne auf Naxos / Schwarzkopf · Seefried · Streich · Schock · Prey · PO · Karajan
Average customer rating:

Una gran interpretación discográfica

Stunning Strauss

Perfecta interpretación

Excelente

Organic whole - Excellent cast fine playing and conducting

R. Strauss - Ariadne auf Naxos / Schwarzkopf · Seefried · Streich · Schock · Prey · PO · Karajan
Richard Strauss , Herbert von Karajan , Elisabeth Schwarzkopf , Irmgard Seefried , Rita Streich , Hermann Prey , Rudolf Schock , Philharmonia Orchestra , Lisa Otto , Otakar Kraus , Fritz Ollendorff , Hughes Cuénod , Grace Hoffmann , Anny Felbermayer , Helmut Krebs , Grace Hoffman , Karl Donch , and Gerhard Unger
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000K4GG
Release Date: 1999-09-21

Tracks:

Ariadne auf Naxos: Prologue: Overture
Ariadne auf Naxos: Prologue: Mein Herr Haushofmeister!
Ariadne auf Naxos: Prologue: Lieber Freund! Verschaffen Sie mir die Geigen (Komponist)
Ariadne auf Naxos: Prologue: O, ich mocht' vieles andern noch in zwolfter Stund' (Komponist)
Ariadne auf Naxos: Prologue: Das! Fur einen Bacchus! (Tenor - Komponist)
Ariadne auf Naxos: Prologue: Erst nach der Oper kommen wir daran (Zerbinetta - Primadonna - Komponist)
Ariadne auf Naxos: Prologue: Nach meiner Oper? (Komponist)
Ariadne auf Naxos: Prologue: Meine Partner! Meine erprobten Frunde! (Zerbinetta - Komponist - Primadonna)
Ariadne auf Naxos: Prologue: Die Herrschaften stehen vom Tisch auf! (Primadonna - Tenor - Zerbinetta - Komponist)
Ariadne auf Naxos: Prologue: Ariadne auf Naxos, Herr (Komponist - Tenor - Primadonna - Zerbinetta)
Ariadne auf Naxos: Prologue: Nein, Herr, so kommt es nicht! (Komponist - Zerbinetta)
Ariadne auf Naxos: Prologue: Kindskopf! Merkt auf, wir spielen mit in dem Stiadne auf Naxos (Zerbinetta - Komponist)
Ariadne auf Naxos: Prologue: An Ihre Platze, meine Damen und Herren! (Primadonna - Komponist)
Ariadne auf Naxos: Opera: Overture
Ariadne auf Naxos: Opera: Schlaft sie?
Ariadne auf Naxos: Opera: Ach! ... Ach! ... Wo war ich? (Ariadne - Zerbinetta)
Ariadne auf Naxos: Opera: Ein Schones war, heib Theseus-Ariadne (Ariadne - Zerbinetta)
Ariadne auf Naxos: Opera: Ach, so versuchet doch ein kleines Lied! (Zerbinetta)

Tracks:

Ariadne auf Naxos: Opera: Es gibt ein Reich, wo alles rein ist (Ariadne)
Ariadne auf Naxos: Opera: Die Dame gibt mit trubem Sinn (Zerbinetta)
Ariadne auf Naxos: Opera: Grobmachtige Prinzessin, wer verstunde nicht (Zerbinetta)
Ariadne auf Naxos: Opera: Hubsch gepredigt! Aber tauben Ohren! (Zerbinetta)
Ariadne auf Naxos: Opera: Ein schones Wunder!
Ariadne auf Naxos: Opera: Circe, Circe, kannst du mich horen? (Ariadne)
Ariadne auf Naxos: Opera: Du schones Wesen! (Bacchus - Ariadne)
Ariadne auf Naxos: Opera: Bin ich ein Gott, schuf mich ein Gott
Ariadne auf Naxos: Opera: Gibt es kein Hinuber? (Ariadne - Bacchus - Zerbinetta)

Amazon.com essential recording

This first studio version of Ariadne, from 1954, was long considered the gold standard and has stood the test of time exceptionally well. London's Philharmonia Orchestra produces a gorgeous sound, sensitive and refined in detail. Karajan shapes an often rapturously poetic account, replete with broad and lingering tempi and an expertly calibrated sense of balance--features that likewise mark the 1956 Rosenkavalier that many count as one of the conductor's highest achievements. Irmgard Seefried confirms her status as the composer's unparalleled interpreter. Her detailed characterization confirms the rightness of Strauss's instinct to make his young idealist a travesti role. Rita Streich's uniquely styled polish and sweet purity of tone make her one of Zerbinetta's most memorable exponents, while Elisabeth Schwarzkopf's Ariadne (surprisingly, a role she never sang on stage) abounds in vocal splendor and cuts through the inherent abstractness of the character with dramatic insight. Karajan's carefully measured approach proves a trifle too deliberate for the commedia scenes, but his sense of finesse shapes a dreamlike, misty fabric (almost suggestive of Wagner's Norns) for the trio of nymphs; their chorus "Töne, töne," resounds with silky translucence. Above all, Karajan establishes a credible throughline in the meandering textures of the final scene between Ariadne and Bacchus. Karajan's scope ensures that this recording is the ideal embarkation point for one of Strauss's most enchanting creations. --Thomas May

Customer Reviews:

Una gran interpretación discográfica.......2007-01-25

Esta grabación de Ariadne auf Naxos, es uno de los máximos logros del exitosísimo productor Walter Legge para el sello discográfico EMI en los cincuenta. Este experimentado y muy hábil productor tenía la gran capacidad de reunir cast absolutamente ideales, con lo mejor que ofrecía el panorama lírico de los años cincuenta (época gloriosa por lo demas, plena de grandes artistas). Lograr un trío femenino conformado por Elizabeth Schwarzkopf, Irmgard Seefried y Rita Streich es un mérito que deberá agradecérsele por mucho tiempo. Es difícil conseguir hoy en día un trío de artistas tan espectacular y completo como este. Elizabeth Schwarzkopf puede considerarse la mejor Ariadne discográfica, su estilo depurado pero a la vez expresivo, su conocimiento profundo del idioma alemán y su voz tan especial le hacen interpretar, por ejemplo, una versión ideal del aria "Es gibt ein reicht". Por su lado, Irmgard Seefried es un compositor magnífico. La de la Seefried era otra voz prodigiosa, ligeramente aterciopelada, de gran elegancia, buen gusto y sobre todo muy idiomática. La Zerbinetta de Rita Streich es absolutamente proverbial. Su difícil aria "Grossmachtige Prinzessin" está interpretada no solo con una habilidad técnica digna del mejor elogio, sino también con un fraseo muy apropiado para el personaje, valiéndose de una voz cuya naturalidad de emisión y timbre penetrante eran realmente fascinantes. Rudolf Schock fue un excelente tenor, con voz heroica y fraseo amplio y contundente, ideales por lo demás para el personaje de Bacchus. Hasta las ninfas están interpretadas por cantantes de primera categoría (Grace Hoffman, Anny Felbermayer y Lisa Otto). No debemos olvidar al Arlecchino de ese gran barítono alemán llamado Herman Prey, en una de sus primeras grabaciones.
La dirección de Karajan es fantástica, sutil y delicada. El gran maestro austriaco era un gran amante de los sonidos orquestales tersos y hedonistas, y de la elegancia en el discurso musical. En una obra como esta, estos criterios encajan a la perfección. Sobre todo en el segundo acto, da una imagen de magia y vaporoso lirismo de verdadera antología. Versión imprescindible por lo tanto, que debe formar parte de la colección discográfica de cualquier amante de la música en general y de las obras de Richard Strauss en particular.

Stunning Strauss.......2007-01-09

This cast is perfection. "Ariadne" is absolutely musically gorgeous in spite of the silly story.

Perfecta interpretación.......2005-04-15

No tengo muchas palabras para expresar la genialidad interpretativa de esta grabación. Sólo escuchen el diálogo entre el Compositor y Zerbineta del Prólogo, o el monólogo de Ariadna (Brillante Schwarzkopf), o el sublime final de la ópera.

Excelente.......2005-04-15

He escuchado algunas grabaciones de la ópera Ariadna auf Naxos, entre ellas, la realizada por Sinopoli, y ninguna me ha cautivado como la de Herbert von Karajan.

Desde mi punto de vista personal, esta grabación de 1954 reúne a un reparto de lujo: Schwarzkopf, Seefried, Schor; una orquesta de excelencia: Philarmonia Orchestra, y una dirección espléndida: Karajan.

Entre los demás atributos musicales, Schwarzkopf, junto con Jessey Norman, personifica a una Ariadna de cinco estrellas: enorme brillantez vocal, riqueza de colores, perfecto control de la respiración y un fraseo refinado y expresivo.

Organic whole - Excellent cast fine playing and conducting.......2002-03-28

4 stars and not 5 for two reasons only, the first it is a fine recording for its age but not up to today's standards. The second is that although Schwarzkopf is very fine there are still moments when she is Schwarzkopf and not Ariadne (veiled tone and other typical S-kopf devices which became increasingly pronounced later in her career and in my humble opinion detract from the purity of vocal line). Nevertheless she is still much better than most recorded Ariadne interpretations.

This said the performance is masterly in playing, conducting and singing. Siegfried is stand out, not that I haven't heard better though possibly that was live! I believe you wil not be disappointed however I do not find myself playing it continuously therefore buy this with the view that there may well be others out there that would fill that bill.

Tracks:

Wo bleibt Elektra? - Helen Watts
Allein! Weh, ganz allein
Elektra! - Marie Collier
Ich kann nicht sitzen und ins Dunkel starren - Marie Collier
Es geht ein Larm los
Was wilst du? Seht doch, dort! - Regina Resnik
Die Gotter! bist doch selber eine Gottin
Ich will nichts horen! - Regina Resnik
Ich habe keine guten Nachte - Regina Resnik
Wenn das rechte Blutopfer
Was bluten mu
Was sagen sie ihr denn?

Tracks:

Orest! Orest ist tot! - Marie Collier
Platz da! Wer lungert so vor einer Tur? - Gerhard Unger
Nun mues hier von uns geschehm
Du! Du! denn du bist stark!
Nun denn, allein!
Was wilst du, fremder Mensch?
Elektra! Elektra! - Tom Krause
Orest!
Du wirst es tun? Allein?
Seid ihr von Sinnnen - Tugomir Franc
Ich habe ihm das Beil nicht geben konnen!
Es muetwas geschehen sein - Marie Collier
He! Lichter! Lichter! - Gerhard Stolze
Elektra! Schwester! - Marie Collier
Ob ich nich hore?
Horst du denn nicht, sie tragen ihn - Marie Collier
Schweig, und tanze

Amazon.com essential recording

If ever there was a dysfunctional family, it was the one in this opera, based on a Greek tragedy but deeply imbued with the ideas of Sigmund Freud. The mother Clytemnestra (mezzo-soprano Regina Resnik) and her lover Aegisthus (tenor Gerhard Stolze) have murdered the father, Agamemnon, on his triumphant return from the Trojan War. They have an excuse: Agamemnon gave his daughter Iphigenia for a human sacrifice. Another daughter, Elektra (soprano Birgit Nilsson), burns for revenge, but as a woman in a patriarchal society, she must use her brother Orestes (baritone Tom Krause) to execute her plan. Nilsson's portrayal is a high point of her career, and the whole brilliant production matches her performance. This is not easy listening, but it puts us in touch with dark realities dangerous to ignore, and the music (after you get used to it, which may take a while) has great power. --Joe McLellan

Customer Reviews:

Visceral, fascinating, almost definitive.......2006-11-24

Elektras are in such short supply today, as are several of the sopranos who sing the hochdramatisch vocal fach. However, during the 60's and the 70's, the world was blessed with a gamut of great dramatic sopranos like Astrid Varnay, Inge Borkh, Birgit Nilsson, and Ursula Schröder-Feinen, all of who were able to bring their gleaming artistry into this extremely difficult role where the character has to stay onstage during the whole performance after her monologue. Only Gwyneth Jones during the 80's and 90's was able to give the role a fresh interpretation which I find greater than any of the aforementioned sopranos, but this breed of hochdramatisch is pretty much extinct today. Conductors who can also manage this massive score are in short supply, and there are very few, if none at all, conductors who were able to bring the demonic drive the great Elektra conductors brought to their interpretation of this extremely revolutionary music.

Back in the 60's though, Sir Georg Solti conducted this benchmark Elektra with Birgit Nilsson in the title role. She had everything the role required for her voice. The top, the middle, and the bottom of the voice was radiant, and she was tireless in a role that would prompt several sopranos to write suicide notes. She perhaps had the ideal voice for Elektra. With her histrionics and her remarkable instrument, no Elektra except perhaps Astrid Varnay and Gwyneth Jones could ever match this magnificent artist. One could wish there was a bit more madness and dementia, but since there is no other voice that could hold to this great artist's performance, one could say that that is alright. As her mother Klytämnestra, Regina Resnik is perhaps one of the roles' most vivid interpreters. While she lacked the psychosexual emphasis that Leonie Rysanek brought to the role, it is a most vivid portrayal of a woman losing her reason. She is perhaps the most demented on disc.

Marie Collier's Chrysothemis is not the best, and that scream was absolutely ridiculous. I far prefer Anne Evans and Lisa Della Casa in the role. The rest of the male cast is excellent, with special mention going to Stolze's crazed Aegisthus. The best Orest though is perhaps Hans Hotter, despite Tom Kraus' magnificent achievement.

And Solti? Well, he brought a demonic drive to this reading that I wish would get more tender in the recognition scene, but all in all, a great account of an important work. Highly recommended!

A truly mad and demented performance if there ever was one, but you should look at Gwyneth Jones' 1990 performance from Claves records to hear what a theatrical Elektra should sound like.

Excellent, love it!.......2006-02-22

Elektra, is one of the most horrific, shocking, but most wonderful piece I have heard from the very begining of the 20th century. I love Strauss's HUGE orchestra, atonal, thick late romantic style of music. This is too well captured by Solti and the Wiener Philharmoniker. I am not too much of a voice fan, and I only know so much in German, so therefore I mostly listen to the orchestra, and all of its scary and beautiful accompiaments. The singers have captured their parts extremely well, but I just don't really like the singing. However, I absolutely LOVE Krause's role in the famous Orestes scene with Elektra, Collier's role of Chrysothemis while she sings about her life, and most of all, Resnik's role of Kytamnestra, when she sings of her nightmare, and of course her bone chilling laughing and when she cries out "Mehr lichter!" I am thankful to have this wonderful opera with my collection of cds.
The only reason why I gave this item 4 stars, was because of its sound. I did not like the quality when I listened to the sound sample, so I had visited another site to buy the new digital remastered version. BUY THE NEW VERSION. Borders, and Barnes and Nobles are now supplying it, it is much cleaner and the orchestra is much more audible. However, when I had bought it, it took about 3 weeks because it is made in Germany. I don't know if it has changed. Anyway, I love the Solti/Strauss/Elektra cd, but it is only to be fully appreciated if you buy the new digital remastered version that Amazon does not supply.

Birgit Nilsson's Grand Elektra.......2006-01-22

Birgit Nilsson died this past December 25th, 2005, and this recording of Strauss' Elektra is but one of the many recordings she left behind, recordings which attest to her unrivaled, grand and virtuosic operatic style. This recording under the baton of George Solti is critically acclaimed but features eerie special effects for dramatic effect, which now make for heavy going. For instance dramatic mezzo soprano Regina Resnik's performance of Klytemnestra, in particular, is amplified and distorted as though she were providing shrieks for a haunted-house ride. Still, Nilsson is appropriately manic, murderous yet capable of melting tenderness on those fleeting occasions when it was called for. Strauss was another repertoire she excelled in, as her Salome (also under Solti)proved. The music for this Elektra is rough, heavy and slow-paced, but builds up strength for climaxes. The neurosis of the characters are well-dramatized. Nilsson oozes madness and desire for vengeance. In no other recording will you find a superior performance, although I'm also fond of Eva Marton's Elektra. Now, if you happen to be a fan of Nilsson, this recording is sure to delight you, as she is still in great vocal shape.

Shattering. Blood-curdling. Terrifying. You get the idea........2004-12-15

"Elektra" is a nasty piece of work - agonized roiling in a dark pit of primal emotion, puncutated by shrieking eruptions of rage. And Solti - never the subtlest of maestros - milks the score for all its worth. You may feel the need for a shower by the time it's over.

But it's Nilsson who elevates this recording into immortality. In "Ring Resounding", John Culshaw - who recorded her Brunnhilde for Solti's landmark Wagner cycle - states that not even Flagstad in her prime could match her vocal power. A bold statement! But no one who listens to this opera will be inclined to doubt it. And her vocal acting here is marvelous as well.

High drama........2004-10-25

I have listened to `Salome,' `Die Frau Ohnne Schatten,' `Elektra' and `Arabella' and have found them increasingly bearable in that order. I apologise to fans of Strauss and I would not presume to slight the man's genius and artistry. The fact remains however, that (like me) there are others who are not fully aware of the style of his music. Having listened to his `Four Last Songs' (phenomenally sung by Jessye Norman), I have to say that his operas only occasionally display that sort of harmony...don't, therefore, go expecting the rapturously beautiful and tuneful strains of, say, `Beim Schlafangen' throughout any of the 1st 3 that I mentioned. Arabella comes closest with a few truly stunning soprano arias and duets, but even Arabella isn't what I'd call a `tuneful' opera, as a whole.

That being said, in my ever so humble opinion, Elektra's lure is more the drama and skill rather than conventional beauty. THIS Elektra, though, is very well-sung. While I do respect Birgit Nilsson's monumental talent, there are very few roles in which I enjoy listening to her. I admire her strength and endurance but conflictingly, hers is a talent I enjoy in smaller doses...which is why Strauss and (especially) Wagner make her too much for my taste. Here, however, Elektra's `grotesquerie' works perfectly well with Nilsson. The power is there when needed, as is the wild emotion and (at times) fragility....that notion of a large voice being precariously balanced on very delicate stilts (e.g., the discovery scene where she recognises Orestes; after her initial exclamation, she opines his name with heart-breaking fragility). At times, the music and singing is beautiful indeed (e.g., the encounter with the stranger, who she later discovers to be Orestes, where she laments her fallen state and that of her brother and father). More generally, however, I listen to this for the `rush' and `freak-appeal'...so this isn't a staple diet.

Marie Collier's role as Krysothemis is constantly interesting...all the more intriguing for its brevity. But her upper register is amazing and the tight vibrato adds to the wailing character required for Chrisothemis. Her opening of the second act must have achieved legendary status by now. Special effects aside, her howling and wailing sounds supernatural. Fascinating! Taut and desperate...a must.

It's rightly been said that Klytemnastra is every mezzo's dramatic dream...unless there is a moral objection to the role. Regina Resnik was born to sing this role! Chilling, menacing, horrific (not of voice but of character)....excellent! And her death-scream (more like a defiance of her own mortality) will give you nightmares. Here is one pinnacle of technique, sound technology and drama. Feel your skin prickle as she laments the product of her loins with "O Gotte." Then feel the ground fall from under you as the raw menace of "warum" reverberates through you!

Gerhard Stolze is at his best as a dramatic heldentenor...perhaps THE most dramatic! His Aegisthe is suitably arrogant, flamboyant and eccentric...and that's just his entrance! His very short role comes to a blood-curdling and gory end as he's murdered by Orestes. Whatever Orestes did to him sounds agonising and brutal in the extreme- Aegisthe dies sounding like a stuck pig.

Tom Krause's velvety, brooding and sonorous Orestes transforms wonderfully from the solemn stranger to the heroic heir-returned. He is among the CDs' more beautiful singers. The supporting cast give very involved and talented performances...even the suitably `stroppy' stable-boy.

Sir Solti's conducting is like a new, super-charged and well-oiled machine. A superb, urgent and dramatic reading...just as it should be.

So do expect a few long-winded passages and don't expect harmonious strains but the drama here is monumental. I say give it a try. I'm no lover of the `new trends' in music but this IS art!

Average customer rating:

Peaches and Cream Casting.
excellent production

Richard Strauss: Der Rosenkavalier

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Ludwig, Christa | Divas | Opera & Vocal | Styles | Music

Troyanos, Tatiana | Divas | Opera & Vocal | Styles | Music
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ASIN: B000001GMT
Release Date: 1994-07-01

Tracks:

Einleitung
Er Katzenkopf Er Unvorsichtiger
Selbstverstandlich Empfangt Mich Ihro
Hat Sie Schon Einmal Mit Einem Kavalier
I Komm' Glei......Drei Arme Adelige Waisen
Di Rigori Armato Il Seno
Als Morgengabe....Ganz Separatim Jedoch
Da Geht Er Hin Der Aufgeblasene Schlechte Kerl
Ach Du Bist Wieder Da!
Die Zeit Die Ist Ein Sonderbar Ding
Einleitung
Mir Ist Die Ehre Widerfahren
Ich Kenn' Ihn Schon Recht Wohl
Jetzt Aber Kommt Mein Herr Zukunftiger
Wird Sie Das Mannsbild Da Heiraten Ma Cousine
Herr Baron Von Lerchenau'
Da Lieg Ich Was Einem Kavalier Nit All's Passieren Kann
Einleitung Und Pantomime
Walzer- Hab'n Euer Gnaden Noch Weitre Befehle
Die Schone Musi
Er Ist Es Es Ist Mein Mann
Bin Glucklich Uber Maben
Leupold Wir Gehn
Mein Gott Es War Nicht Mehr Als Eine Farce
Marie Theres.....Hab- Mir's Gelobt
Ist Ein Traum Kann Nicht Wirklich Sein

Customer Reviews:

Peaches and Cream Casting........2004-02-06

The magnificent Marschallin of Christa Ludwig and the Octavian of the shamefully underappreciated Tatiana Troyanos, both at the height of their powers, ably matched by the inigmatic Sophie of Edith Mathis.

The final trio alone is worth the price.

Theo Adam is, as always, rock solid, though perhaps not the final word in this role.

Bohm conducts with his accustomed authority.

The sound, a stereo air check, isn't the best, but it is serviceable. You'll need to crank up the volume a bit.

In all, a very representative live performance of Strauss' masterpiece. The individual parts may be a bit better than the whole, but the whole ain't bad!!

Four stars only because of the dated sound.

excellent production.......2002-07-16

This release is taken from an Austrian Radio stereo taping of a 1969 Salzburg production. Bohm's conducting is masterly with a lithe, transparent quality, together with the idiomatic sound and phrasing of the Vienna Philharmonic (no other orchestra handles the waltz rhythms with the same kind of natural, effortless lilt). The singing of the four key roles (i.e. the Marschallin, Octavian, Sophie and Baron Ochs) is quite good, although without quite the same degree of distinctiveness as in the classic Karajan EMI recording. On the other hand, with Bohm and company, one feels more of the frisson of a superior live performance. Ideally, one should have them both. Definitely recommended!

Average customer rating:

C'est magnifique!
Good, but Solti or Kleiber are Preferable
Historical reference of Der Rosenkavalier
Great interpretation but flawed
Still the best recording of Strauss masterpiece!

Richard Strauss: Der Rosenkavalier

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Ludwig, Christa | Divas | Opera & Vocal | Styles | Music
ASIN: B000002RXI
Release Date: 1997-09-23

Tracks:

Der Rosenkavalier: Act One: Introduction
Der Rosenkavalier: Act One: Wie du warst!; Wie du bist!
Der Rosenkavalier: Act One: Du bist mein Bub, du bist mein Schatz!
Der Rosenkavalier: Act One: Der Feldmarschall sitzt im krowatischen Wald
Der Rosenkavalier: Act One: Quinquin, es ist ein Besuch
Der Rosenkavalier: Act One: Selbstverstandlich empfaengt mich Ihro Gnaden
Der Rosenkavalier: Act One: Hat Sie schon einmal
Der Rosenkavalier: Act One: Macht das einen lahmen Esel aus mir?
Der Rosenkavalier: Act One: Geben mir Euer Gnaden den Grasaff' da
Der Rosenkavalier: Act One: Wollen Euer Gnaden leicht den Jungen Herrn da
Der Rosenkavalier: Act One: I komm' glei...Drei Arme adelige Waisen
Der Rosenkavalier: Act One: Di rigori armato il seno
Der Rosenkavalier: Act One: Als Morgengabe
Der Rosenkavalier: Act One: Mein lieber Hippolyte
Der Rosenkavalier: Act One: Da geht er hin, der aufgeblasene schlechte Kerl
Der Rosenkavalier: Act One: Ach, du bist wieder da!
Der Rosenkavalier: Act One: Die Zeit, die ist ein sonderbar Ding
Der Rosenkavalier: Act One: Mein schoener Schatz
Der Rosenkavalier: Act One: Ich werd' jetzt in die Kirchen geh'n

Tracks:

Der Rosenkavalier: Act Two: Introduction
Der Rosenkavalier: Act Two: Ein erster Tag, ein grosser Tag
Der Rosenkavalier: Act Two: In dieser feierlichen Stunde der Prufung
Der Rosenkavalier: Act Two: Mir ist die Ehre widerfahren
Der Rosenkavalier: Act Two: Ich kenn' ihn schon recht wohl
Der Rosenkavalier: Act Two: Jetzt aber kommt mein Herr Zukunftiger
Der Rosenkavalier: Act Two: Brav, Faninal, er weiss, was sich gehort
Der Rosenkavalier: Act Two: Wird kommen uber Nacht
Der Rosenkavalier: Act Two: Hab' nichts dawider
Der Rosenkavalier: Act Two: Was sie ist...Mit Ihren Augen voll Tranen
Der Rosenkavalier: Act Two: Herr Baron von Lerchenau!
Der Rosenkavalier: Act Two: Er muss mich pardonieren
Der Rosenkavalier: Act Two: Da lieg' ich
Der Rosenkavalier: Act Two: Da!...Herr Cavalier!

Tracks:

Der Rosenkavalier: Act Three: Introduction & Pantomime
Der Rosenkavalier: Act Three: Hab'n Euer Gnaden noch weitre Befehle?
Der Rosenkavalier: Act Three: Nein, nein, nein, nein! I trink' kein Wein
Der Rosenkavalier: Act Three: Ach, lass Sie schon einmal das fade Wort!
Der Rosenkavalier: Act Three: Die schoen Musi!
Der Rosenkavalier: Act Three: Wie die Stund' hingeht
Der Rosenkavalier: Act Three: Oh weh, was maken wir?...Halt! Keiner ruhrt sich!
Der Rosenkavalier: Act Three: Sind desto eher im Klaren
Der Rosenkavalier: Act Three: Mus jetzt partout zu ihr!
Der Rosenkavalier: Act Three: Ist halt vorbei
Der Rosenkavalier: Act Three: Mein Gott, es war nicht mehr als eine Farce
Der Rosenkavalier: Act Three: Heut oder morgen oder den ubernachsten Tag
Der Rosenkavalier: Act Three: Marie Theres'! ...Hab' mir's gelobt
Der Rosenkavalier: Act Three: Ist ein Traum, kann nicht wirklich sein
Der Rosenkavalier: Act Three: Ist ein Traum...Spur nur dich

Amazon.com essential recording

An opera that seems to bring the best out of performers, Rosenkavalier inspired these perf ormers to make a recording for the ages. With a superb Ochs and glorious singing from its three leading l adies, and with Herbert von Karajan keeping the Philharmonia on the edge of its seat, this enticing portr ait of love from three angles emerges in all its bittersweet perfection. EMI recorded the opera with sepa rate engineering teams in stereo and mono; this remastering of the stereo version is preferable to the ve ry fine special-issue monaural remastering [EMI Classics 56113] brought out in 1996 as an 80th-birthday tribute to Dame Elisabeth Schwarzkopf. --Ted Libbey

Customer Reviews:

C'est magnifique!.......2001-04-24

Looking through other reviews of this recording, you may read that this is too dated a recording, or of the inferiority of the Karajan interpretation. Therein lies the crux of my review...this is an older recording; though remastered, it does not sound entirely modern...nor, perhaps, should it. Karajan's interpretation of the "Rosenkavalier" certainly differs from Solti's. Karajan's sense of style again pervades here; if you dislike the imprint that Karajan, like all great conductors, leaves upon the work that he conducts, skip this. If, on the other hand, you are both a lover of Strauss operas, and an admirer of Karajan's work, this is an unbeatable recording, showcasing beautiful performances. Highly recommended.

Good, but Solti or Kleiber are Preferable.......2001-01-14

There are many things right with this recording--so many that it has attained classic status. But I also think there are enough things wrong with it to make it less than a first choice. First of all, Karajan makes all the traditional cuts in the score, the worst being the truncation of the Baron's amusing Act 1 monologue. This alone makes the uncut sets by Solti (on Decca) and Erich Kleiber (also on Decca) preferable. Second, the 1956 stereo sound is only acceptable; Schwartzkopf thought the mono version sounded better, and she may well be right. Third, I find problems with some of the singing: Stitch-Randall is an intelligent Sophie, but her voice is rather "white" and not particularly attractive, and Ludwig, who of course sings beautifully, doesn't sound very boyish.

This is a very good recording, of course. But two recordings are preferable, both for having no cuts and for all-around performances. Erich Kleiber's 1954 recording, while in mono, has adequate sound, along with great conducting and fine singing. The first choice for this opera, though, is Georg Solti's recording on Decca, blessed with superb stereo sound and perhaps the best cast of all: Regine Crespin's moving and charming Marschallin (a bit past her best but still great), Yvonne Minton's eager, ardent Octavian, and the unmatched Sophie of Helen Donath. Solti is at his best, and the only real flaws in the recording are a few audible tape splices that briefly break the mood. The Solti recording is not available from amazon.com, but, strangely enough, it is available from amazon's British branch, www.amazon.co.uk!

Historical reference of Der Rosenkavalier.......2000-11-13

Going through the other reviewing you will read that this version is exceptional or is too old technically for listeners that can only bear digital recordings. The point is, this version is a reference definitely but has been so for nearly half a century and maybe you would like to get something new for your ears. However I would probably recommend this version as a first purchasing if you have no idea of which to choose. Recorded in 1956 by EMI, the sound is in stereo but was only intended to be in mono. The producer Legge (Schwarzkopf's husband) was not convinced by that technology and only the engineer Parker was clever enough to make some attempts during the recording sessions. Therefore the whole set does not sound as a continuous unit with the orchestra sounding a little foggy. Voices are well caught but do not transmit all emotions as they should. Schwarzkopf cannot be replaced as the Marschallin and fortunately we have a good and complete portrayal from her in studio. But if you ever have the chance to see the movie made in 1960 at Salzburg, you will understand how in only 4 years, she has made this part definetly hers. Ludwig is vibrant and ardent as Oktavian (she was only 28) but sounds too mezzo. Jurinac was preferable but she had just recorded the part for Decca. Emi should then have chosen Grümmer! Stich-Randall is "silver-made" and you will never find a purer voice anywhere. But again, she also was 28 and lacks some determination in the character (I prefer her recording of the BW51 Cantate from Bach!). Ochs is from Vienna and one can hear his typical accent clearly but he does not really have the lower notes or the darker tone demanded by this role (see Weber, Böhme, Moll or Ridderbusch). Karajan gives a superb interpretation without underlining the legato too much as he later did in 1983 for DG. As a conclusion, do not hesitate to buy this set. If you already have it (even in older mastering, sound is not really improved and is even cooler here), try the fabulous live recording from Myto with Kleiber JR. conducting which I've given 5 stars!

Great interpretation but flawed.......2000-04-18

Enjoyed the interpretation and the casting of the voices. It's too bad that Karajan wasn't in his prime when our recording technology had advanced.

I'm an aspiring opera composer who bought the score, and agree with one reviewer that this is probably not the best choice to study by since substantial sections have been seriously slashed (Act I and Act III especially). (You may begin to doubt your score reading abilities, but don't worry, there are substantial cuts.)

Students will also probably notice the intended "meshed" orchestral sound (popular in recordings in the 50's) which doesn't allow individual instruments to sing out except during obvious solo parts. This can be especially frustrating when trying to understand Strauss' use of instruments and his genius behind the orchestration.

Two final criticisms I have concern diction and remastering.

I know the singers are supposed to be using "Weiner" accents, but I think some of the German diction is even more atrocious than the librettist intended. (Karajan, where were you to advise?)

And concerning the remastering, there are noticeable skips in recording levels and quality.

Overall, for a historical performer/conductor experience, this CD is a must, but for a nuts and bolts study, I'd suggest spending the extra bucks on a more recent recording.

Still the best recording of Strauss masterpiece!.......2000-01-27

If you like this opera, you have found the complete recording. There are no weak points, in every detail, Karajan has succeded. When T. Stich-Randall and C. Ludwig sing the duet in the beginning of act 2, it can be said in just one word, sensational!

Average customer rating:

Karajan conducts "Die Meistersinger" at the reborn Bayreuth Festival
A Meistersinger to end all other Meistersingers!
glorious New Bayreuth
A benchmark none have matched

Wagner: Die Meistersinger Von Nürnberg

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music
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Wagner: Tristan und Isolde

ASIN: B000002S1U
Release Date: 1990-06-27

Tracks:

Prelude - Orch Festspiele Bayreuth 1951/Herbert Von Karajan
Act 1, Scene 1: Da zu dir der Heiland kam - Chor Festspiele Bayreuth 1951
Act 1, Scene 1: Verweilt!-Ein Wort! - Hans Hopf/Elizabeth Schwarzkopf/Ira Malaniuk
Act 1, Scene 1: Da bin ich! - Gerhard Unger/Hans Hopf/Elizabeth Schwarzkopf/Ira Malaniuk
Act 1, Scene 2: David, was stehst? - Chor Festspiele Bayreuth 1951/Gerhard Unger/Hans Hopf
Act 1, Scene 2: Mein Herr! der Singer Meister-Schlag - Gerhard Unger/Hans Hopf
Act 1, Scene 2: Der Meister Ton und Weissen - Chor Festspiele Bayreuth 1951/Gerhard Unger/Hans Hopf
Act 1, Scene 2: Damit, Her Ritter, ist's so bewandt! - Gerhard Unger/Hans Hopf
Act 1, Scene 2: Aller End'ist Doch David der Allergescheit'st'! - Chor Festspiele Bayreuth 1951/Gerhard Unger
Act 1, Scene 3: Seid meiner Treue wohl versehen - Friedrich Dalberg/Erich Kunz/Hans Hopf
Act 1, Scene 3: Gott grub Euch, Meister! - Otto Edelmann/Erich Majkut/Erich Kunz/Hans Berg/Heinrich Pflanzl/Friedrich Dalberg
Act 1, Scene 3: Das schone Fest, Johannistag - Friedrich Dalberg/Chor Festspiele Bayreuth 1951/Erich Majkut/Otto Edelmann...
Act 1, Scene 3: Vielleicht schon ginget thr zu weit - Heinrich Pflanzl/Erich Kunz/Erich Majkut/Hans Berg/Friedrich Dalberg
Act 1, Scene 3: Dacht' ich mir's doch! - Erich Kunz/Heinrich Pflanzl/Friedrich Dalberg/Hans Berg/Otto Edelmann
Act 1, Scene 3: Am stillen Herd in Winterzeit - Hans Hopf/Otto Edelmann/Erich Kunz/Heinrich Pflanzl/Erich Majkut/Hans Berg
Act 1, Scene 3: Nun, Meister, wenn's gefallt - Heinrich Pflanzl/c/Erich Kunz

Tracks:

Act 1, Scene 3: Fanget an! - Erich Kunz/Hans Hopf
Act 1, Scene 3: Seid lhr nun fertig? - Erich Kunz/Hans Hopf/Friedrich Dalberg/Heinrich Pflanzl
Act 1, Scene 3: Halt! Meister! Nicht so geeilt! - Erich Kunz/Erich Kunz/Hans Berg/Heinrich Pflanzl/Friedrich Dalberg/Friedrich Dalberg...
Act 2, Scene 1: Johannistag! Johannistag! - Chor Festspiele Bayreuth 1951/Gerhard Unger/Ira Malaniuk/Otto Edelmann
Act 2, Scene 2: Lab seh'n, ob Meister! - Friedrich Dalberg/Elizabeth Schwarzkopf/Ira Malaniuk
Act 2, Scene 3: Zeig her!-'s ist gut - Otto Edelmann/Gerhard Unger
Act 2, Scene 3: Was duftet doch der Flieder. - Otto Edelmann
Act 2, Scene 4: Gut'n Abend, Meister! - Elizabeth Schwarzkopf/Otto Edelmann/Ira Malaniuk
Act 2, Scene 4: Hilf Gott! wo Bliebst du nur so spat? - Ira Malaniuk/Elizabeth Schwarzkopf/Friedrich Dalberg
Act 2, Scene 5: Da ist er! - Ira Malaniuk/Elizabeth Schwarzkopf/Hans Hopf
Act 2, Scene 5: Geliebter, spare den Zorn! - Ira Malaniuk/Elizabeth Schwarzkopf
Act 2, Scene 5: Uble Dinge, die ich da merk' - Otto Edelmann/Hans Hopf/Elizabeth Schwarzkopf
Act 2, Scene 6: Tu's nicht! Doch horch! - Otto Edelmann/Hans Hopf/Elizabeth Schwarzkopf
Act 2, Scene 6: Jerum! Jerum! - Otto Edelmann
Act 2, Scene 6: Das Fenster geht auf - Otto Edelmann/Erich Kunz/Hans Hopf/Elizabeth Schwarzkopf
Act 2, Scene 6: Den Tag seh'ich erscheinen - Otto Edelmann/Erich Kunz
Act 2, Scene 6: Mit den Schuhen ward ich fertig schier! - Otto Edelmann/Erich Kunz/Chor Festspiele Bayreuth 1951/Gerhard Unger/Friedrich Dalberg

Tracks:

Prelude - Orch Fe
Act 3 Scene 1: Gliech Meister! Hier! - Gerhard Unger
Act 3 Scene 1: Am Jordan Sankt Johannes stand - Gerhard Unger/Otto Edelmann
Act 3 Scene 1: Wahn! Wahn! Uberall Wahn! - Otto Edelmann
Act 3 Scene 2: Grub Gott, mein Junker! - Otto Edelmann
Act 3 Scene 2: Mein Freund! in holder Jugendzeit - Otto Edelmann
Act 3 Scene 2: Morgendlich leuchtend in rosigem Schein - Otto Edelmann/Hans Hopf
Act 3 Scene 3: Ein Werbelied! von Sachs?-ist's wahr? - Otto Edelmann/Erich Kunz
Act 3 Scene 3: Das Gedicht? Hier lieb ich's - Otto Edelmann/Erich Kunz
Act 3 Scene 4: Sieh, Evchen! - Otto Edelmann/Elizabeth Schwarzkopf/Hans Hopf
Act 3 Scene 4: Hat man mit dem Schuhwerk nicht seine Not! - Otto Edelmann/Elizabeth Schwarzkopf
Act 3 Scene 4: Ein Kind war hier geboren - Otto Edelmann

Tracks:

Act 3 Scene 4: Die selige Morgentraum-Deutweise.../Selig, wie die Sonne - Otto Edelmann/Elizabeth Schwarzkopf/Hans Hopf/Ira Malaniuk
Act 3 Scene 5: Sankt Crispin, lobet ihn! - Chor Festspiele Bayreuth 1951
Act 3 Scene 5: Ihr tanzt? Was werden die Meistern und Volk beliebt - Chor Festspiele Bayreuth 1951/Gerhard Unger
Act 3 Scene 5: Silentium! Silentium!.../Wach auf, es nahet gen den Tag - Chor Festspiele Bayreuth 1951
Act 3 Scene 5: Euch macht ihr's leicht, mir macht ihr's schwer - Otto Edelmann/Erich Kunz/Friedrich Dalberg
Act 3 Scene 5: Nun denn, wenn's Meistern und Volk beliebt/Morgan icht leuchte in rosigem Schein - Otto Edelmann/Erich Kunz/Heinrich Pflanzl/Chor Festspiele Bayreuth 1951/Hans Berg/Erich Majkut...l
Act 3 Scene 5: Das Lied, furwahr, ist nicht von mir - Otto Edelmann/Chor Festspiele Bayreuth 1951
Act 3 Scene 5: Morgendlich leuchtend im rosigem Schein - Hans Hopf/Otto Edelmann/Friedrich Dalberg/Elizabeth Schwarzkopf
Act 3 Scene 5: Verachtet mir die Meister nicht - Otto Edelmann

Amazon.com

After World War II, the allied powers contemplated suppression of all Wagnerian performance in Germany. However, wiser heads prevailed, and in 1951 the Festspielhaus at Bayreuth reopened under the management of Wagner's grandsons. As noisy as a stage recording can be, with limited fidelity from the dawn of the LP era, this set still conveys the enthusiasm accompanying the newly reopened festival. Casting is uneven, but the recording retains interest for the connoisseur because of the energetic conducting of Herbert von Karajan, the ravishing performance of the young Elisabeth Schwarzkopf as Eva, and the authoritative resonant Sachs of Otto Edelman that shows the great tradition of the Bayreuth singers of the first part of the century. --Christian C. Rix

Customer Reviews:

Karajan conducts "Die Meistersinger" at the reborn Bayreuth Festival.......2007-02-06

SOURCE: This is an assembled production built up by Walter Legge from portions of a rehearsal on July 27 and live performances in the Festspielhaus in Bayreuth on August 5, 16, 19, 21 and 24, 1951. It was originally issued by Columbia Records on 68 sides (34 disks) at 78 rpm, making it the largest production ever issued in that format.

SOUND: This is one of producer Walter Legge's first attempts to crack the problem of recording the unique sound of Bayreuth. There are undoubtedly faults, as pointed out by prior reviewers. For those who insist on hearing the worst, it should be noted that the new tape recording technology of the era was not quite up to such a huge project as this one, so there are a few occasions of overloading, fade away and discernible joins. Nevertheless, the overall effect is not as bad as all this would seem to suggest. Considering that it is a first attempt, the mono sound is acceptable and capable of pleasing any listener who is more interested in the performance than the sound technology.

CAST: Hans Sachs*, cobbler - Otto Edelmann; Walther von Stolzing, knight - Hans Hopf; Eva Pogner - Elisabeth Schwarzkopf; Sixtus Beckmesser*, town clerk - Erich Kunz; Veit Pogner*, goldsmith and Eva's father - Frederick Dalberg; David, apprentice cobbler - Gerhard Unger; Magdalena, Eva's nurse - Ira Malaniuk; Fritz Kothner*, baker - Heinrich Pflanzl; Kunz Vogelgesang*, furrier - Erich Majkut; Konrad Nachtigall*, tinsmith - Hans Berg; Balthasar Zorn*, pewterer - Josef Janko; Ulrich Eisslinger*, grocer - Karl Mikorey; Augustin Moser*, tailor - Gerhard Stolze; Herrmann Ortel*, soap maker - Heinz Tandler; Hans Schwarz*, stocking weaver - Heinz Borst; Hans Foltz*, coppersmith - Arnold van Mill; Nightwatchman - Werner Faulhaber. (* Member of the Guild of Master Singers) CONDUCTOR: Herbert von Karajan with the Bayreuth Festival Orchestra and Chorus.

DOCUMENTATION: Libretto in German.

COMMENTARY: The Bayreuth Festival was reborn from the catastrophe of the war years in 1951. Its former director, Winifred Wagner, the composer's English-born daughter-in-law and dear friend of Adolf Hitler, was still very much alive but she had been firmly removed from any authority at the Festival because of her loudly proclaimed political affiliations. Her sons Wieland and Wolfgang were in charge of the officially de-Nazified Festival and of its nearly empty treasury. It is a famous part of opera lore that the bothers coped with both problems by presenting semi-abstract productions with next-to-bare stages, few props and simple (not to mention cheap) costumes, all bathed in elaborate lighting plots. Those things were certainly true of that year's "Tristan und Isolde" as produced by Wieland Wagner.

But Wolfgang's 1951 "Die Meistersinger von Nuernberg" was still very much a traditional production. Contemporary photographs show St. Katherine's Church in the first act to have been realistic and almost oppressively massive. Hans Sach's shop in the second act was set on stage right at the side of a broodingly authentic-looking Sixteenth Century cityscape. The interior of his house in the first part of act three was dimly-lit and gloomily realistic. Only the final set gave a hint of things to come, for Nuremberg was reduced to a bare stage with risers on each side and across the back, with what appear to be cut-outs of the skyline placed flat against a sky scrim. Costumes and props were resolutely realistic and clunky throughout. All that would change in the next "Meistersinger" production when Wieland got his hands on it ... but not yet.

Less articulated in opera lore is the fact that the new production style was not terribly significant then and much less so now. What was important was that the post-war period was a time of immensely skilled older conductors (as well as that youngish whippersnapper Karajan) and brilliantly talented singers. Consider the cast list: Edelmann, Kunz, Unger, Malaniuk, Stolze, and yes, even Hopf are names to conjure with. And Schwarzkopf is pure magic.

In the nature of things, the titanic egos of the Wagner brothers and Karajan led to conflicts. Not long after this recording was made, Karajan withdrew in the course of a feud over something or other, so the revival of the "Meistersinger" production in 1952 was led by Hans Knappertsbusch (who would feud with the brothers and depart in 1953.) The Knappertsbusch-led performance of "Die Meistersinger" of July 30, 1952 has also become available on CD, perhaps a little more happily recorded than this one. The cast is much the same, with the absence of Kunz, the substitution of della Casa for Schwarzkopf and the addition of brilliant newcomers Theo Adam and Gustav Neidlinger in small parts. The contrast of the two versions is enlightening. Knappertsbusch was the ultimate traditionalist, while Karajan was already beginning to reshape music in his own image.

This is a famous--if artificially assembled--performance from a famous production. There are occasional rough spots, as is to be expected in a live performance. The overall performance is fine. Even Hopf, who had the voice and the strength to be great but not the understanding or the will, is bearable. In fact, he is noticeably better here under taskmaster Karajan than he would be in the following year under the less insistent Knappertsbusch. Schwarzkopf is wonderful. (Her only equal as Eva was the luminous but shamefully under-recorded Elisabeth Gruemmer.)

Good performance, great conductor, stellar cast. It's not perfect, for no "Meistersinger" recording is ever likely to be, but it is certainly worth five stars.

NOTE ON ANOTHER VERSION: This set set unavailable at the moment. As I write this, I see that Amazon UK has a perfectly acceptable version from Naxos, although without a libretto. That version, of course, is freely available here in Vancouver's classical record stores.

A Meistersinger to end all other Meistersingers!.......2004-10-21

Karajan's live '51 recording under the direction of Walter Legge is truly a testament to Art herself.

Perfection and Excellence are the mottos of this historic performance.

The intensity Karajan brings to the score is overwhelming..just listen to the overture for instance!

The sound is in wonderful mono...better than Naxos's recent re-issue or that of Uarania. Unfortunately this set is discontinued from EMI, and only comes with the German libretto. Nevertheless, what is most interesting in hearing this set is the "dramatic through line" which is rarely captured on record, but is self-evident and vivid thanks to Karajan.

A fantastic display piece is you ever find it used. You will fall in love with Meistersinger all over again listening to this recording.

glorious New Bayreuth.......2004-04-07

This was the first Meistersinger of the New Bayreuth. And what a performance. From the first bar on Karajan takes command of this big ship and leads the guilds gloriously through the narrow streets of Nurnberg to end in a grandiose way on the pastures outside of the city. Allthough the recording lacks a little balance (f.e woodwinds pushed to the background), it still shows an orchestra and a chorus with tremendous character and vibrance, especially the strings throughout the evening. Wilhelm Pitz, the Bayreuth chorus master, made the chorus definetely one of the stars of this production. What a sound and coherence (listen to the first minutes of the 2nd act). Besides the orchestra and the chorus, the other shining star was without question Elisabeth Schwarzkopf and her performance of Eva. Radiant and fluid, Rosenkavalier-like, this was to be her last appearance on the Hill. Her part in the 3rd act is unsurpassed ("O Sachs, mein Freund,...") and not to forget: the quintet were she is joined by the other four main characters in excellent shape. This is the essence of Wagner: Wort und Ton ( words and music) and this was the principal achievement of Karajan and his crew in this production. A must.

A benchmark none have matched.......2002-04-25

Herbert vo Karajan's 1951 recording of Wagner's Die Meistersinger can be recommended without reservation. Even those with the most demanding needs for modern recording quality will recognise the benefit of sacrificing some of the finer points of sound quality for the greater immediacy, excitement and inspiration of this legendary performance.
For those accustomed to Karajan's later recordings, what is surprising about this recording is the freedom with which the whole piece is played, with tempos and dynamics allowed a freer reign than in some of Karajan's later, and drier, work. The Bayreuth playing brings out the work's celebratory nature better than any recording since, and Karajan's conducting allows all involved to respond when the score calls for an increase in adrenalin levels. Walter's entry in Act 2 is a case in point.
The singers give superb characterisations. Walter's impetuous and naiive romanticism is powerfully portrayed by the vibrany singing of Hans Hopf, whose spontaneous singing at the end of act one is quite magnificent. The central romance of the opera is further aided by the beautiful and at times poignant singing of Elizabeth Schwarzkopf, who's softer voice gives exactly the right level of innocence to the character.
The highlight, though, is Edelmann's imperious Sachs. Unlike some since, Edelmann understand's that Sachs is not just an old man, but is also one who has an important element of mischief (at the end of acts one and two), and a compassion for the common person. More than this, Sachs is also a character with a strong German nationalism (however unpopular that might be, it is something Wagner was certainly not ashamed of) and a sadness that never touches on self-pity. No other portrayal of this complex character quite brings out all the elements of the character, as well as providing some wonderfully musically singing. All the smaller parts sing there parts well, especially the somewhat pathetic Kunz as Beckmesser, whose interaction with Edelmann adds a lot to the comic aspect of the story.
Other recordings offer more control, more technical perfection (there are rare moments when mistakes are made, such as the opening chord of the overture), and improved sound quality. But none have matched the vibrancy, power, and characterisation that Karajan's early recording offers. A classic against which all other performances of this masterpiece must be judged, and against which all fall short.

Average customer rating:

Der Rosenkavalier: The Premiere Recording

Richard Strauss: Der Rosenkavalier

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Ludwig, Christa | Divas | Opera & Vocal | Styles | Music
ASIN: B000002S1R
Release Date: 1990-05-15

Tracks:

Act One: Da Geht Er Hin...& Closing Scene - Gerhard Unger/Christa Ludwig/Erich Majkut/Eberhard Wachter/Harald Proglhof
Act Two: Mir Ist Die Ehre Widerfahren...Ich Kenn' Ihn Schon Recht Wohl - Christa Ludwig/Teresa Stich-Randall
Act Two: Herr Cavalier - Otto Edelmann/Kerstin Meyer
Act Three: Nein, Nein, Nein, Nein! I Trink' Kein Wein...Ach, Lass Sie Schon...Die Schone Musi! - Christa Ludwig/Otto Edelmann
Act Three: Marie Theres'!...Hab' Mir's Gelobt & Closing Scene - Christa Ludwig/Gerhard Unger/Teresa Stich-Randall/Eberhard Wachter

Customer Reviews:

Der Rosenkavalier: The Premiere Recording.......2006-01-24

This early 60's recording of Strauss' Der Rosenvalier has long been regarded as the finest interpretation of the work on record, even in light of modern recording advantages such as better sound quality. Because Elisabeth Schwarzkopf is forever associated with the epitome of a Straussian/German soprano, and especially for her signature role as the Marschallin, this recording has never slipped into obscurity and remains a hot item. Herbert Von Karajan conducts the Strauss score with utmost brilliance, though at a slow and stately pace. The waltzes are simultaneously dizzying and sleep-inducing, Karajan suffuses the music with theatricality and comedy, the arias are virtuosic and the Final Trio/Presentation of the Rose scene is unbelievable, ethereal and magical. Through it all, there is a sort of old school charm.

The singers: Other than the unbeatable performance of Elisabeth Schwarzkopf, we have here the grand mezzo soprano Christa Ludwig as Octavian. Ludwig's artistry is well known and well documented in many recordings. Capable of singing in the mezzo range, she was also able to reach high notes with agility and with ease. She is noted especially for her Leonore in Fidelio, but her Adalgisas, Susukis and Lieder repertoire are terrific. Ludwig shades her voice so that she fully immerses herself in the role of the dashing young man in love with the more experienced Marschallin. There is no fault to be found in her singing, and she is the equal of Schwarzkopf in this recording as far as great voice. The light lyric soprano Teresa Stich-Randall was a renowned Mozart soprano in her time, but her voice is too chirpy and light for my taste. But in the role of the pretty ingenue Sophie in this opera, it suits her well. The baritone Otto Edelman has fun with his role as the Baron. He sings in a basso-buffo style but has enough power in the high register to essay the florid music. And it is florid when one considers the extended scene between the Baron and Sophie which features the long waltz. Without a doubt, this recording will never go out of print. Other than this recording, there are other editions both on Mono and on Stereo. For excellent sound from the orchestra courtesy of Mr. Karajan, the stereo sounds great. But if you prefer to wrap yourself in the voice alone, the Mono sound is for you.

Music Review:

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It's Monk's Time

1. Stille Nacht Heilige Nach
2. Susser Die Glocken Nie Kl
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4. Alle Jahre Wieder
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14. Christmas Medley
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20. Gloria