Eberhard Waechter

On this CD:

1. Iphigénie en Tauride, opera in 4 acts, Wq. 46 Ihr, die ihr mich verfolgt
Composed by Christoph Willibald Gluck
Performed by Eberhard Waechter
Conducted by Gustav Konig

2. Iphigénie en Tauride, opera in 4 acts, Wq. 46 Die Ruhe kehret mir zurück
Composed by Christoph Willibald Gluck
Performed by Eberhard Waechter
Conducted by Gustav Konig

3. La favorita, opera Leonore, meine Krone
Composed by Gaetano Donizetti
Performed by Eberhard Waechter
Conducted by Gustav Konig

4. Das Nachtlager von Granada, opera Ein Schütz bin ich
Composed by Conradin Kreutzer
Performed by Eberhard Waechter
Conducted by Gustav Konig

5. Die Lustigen Weiber von Windsor, opera In einem Waschkorb?
Composed by Otto Nicolai
Performed by Munich Philharmonic Orchestra with Eberhard Waechter
Conducted by Ferdinand Leitner

6. Tannhäuser, opera, WWV 70 Blick' ich umher in diesem edlen Kreise
Composed by Richard Wagner
Performed by Bamberg Symphony Chorus with Eberhard Waechter
Conducted by Ferdinand Leitner

7. Tannhäuser, opera, WWV 70 Wie Todesahnung Dämm'rung deckt die Lande
Composed by Richard Wagner
Performed by Bamberg Symphony Chorus with Eberhard Waechter
Conducted by Ferdinand Leitner

8. Work(s) Margarethe: Da ich nun verlassen soll
Composed by Charles Gounod
Performed by Munich Philharmonic Orchestra with Eberhard Waechter
Conducted by Ferdinand Leitner

9. Work(s) Margarethe: Schnell hierher
Composed by Charles Gounod
Performed by Munich Philharmonic Orchestra with Eberhard Waechter
Conducted by Ferdinand Leitner

10. Königskinder, opera Verdorben! Gestorben!
Composed by Engelbert Humperdinck
Performed by Eberhard Waechter
Conducted by Gustav Konig

11. Pagliacci, opera Nedda Silvio! Zu dieser Stunde
Composed by Ruggiero Leoncavallo
Performed by Eberhard Waechter
Conducted by Gustav Konig

12. Faust, opera Avant de quitter ces lieux
Composed by Charles Gounod
Performed by Munich Philharmonic Orchestra with Eberhard Waechter
Conducted by Ferdinand Leitner

13. Faust, opera Par ici, par ici, mes amis!
Composed by Charles Gounod
Performed by Munich Philharmonic Orchestra with Eberhard Waechter
Conducted by Ferdinand Leitner

Tracks:

Les Peurs des perles Act 1 - Au fond du temple saint
Madama Butterfly Act 1- Vogliatemi bene, un bene piccolino
Le Nozze di Figaro Act III - Sull'aria - Le Nozze di Figaro
La Traviata Act I - Un di, felice, eterea
Lucia Di Lammermoor Act I - Ah! Verranna a te sull'aure
Tristan und Isolde Act II - O sink hernieder, Nacht der Liebe
Carmen Act I - Parle-moi de m
Die ZauberflAct I - Bei Mern, welche Liebe F
Lakmct I - Viens, Mallika
Rigoletto Act I - il sol dell'anima
Der Rosenkavalier Act II - Mir ist die Ehre wilderfahren
Don Giovanni Act I - Li darem la mano
La Boh Act IV - O Mimi, tu pi torni
Il Trovatore Act IV - Miserere...Quel suon, quelle preci

Amazon.com

This is a misnomer--not all of these duets are all that famous--but it's a fine compilation nonetheless. You'll hear selections from Bizet's The Pearl Fishers (Nicolai Gedda and Ernest Blanc at their most elegant French), Madama Butterfly (Carlo Bergonzi and Renata Scotto--an impassioned pair), Lucia di Lammermoor (a classy Alfredo Kraus and Edita Gruberova), the lovely Lakme duet, The Presentation of the Silver Rose from Der Rosenkavalier (with the earnest Christa Ludwig and the other-worldly Teresa Stich-Randall), and a fine Trovatore "Miserere" (with Leontyne Price and Franco Bonisolli singing up a storm). There are many others, too--a veritable cornucopia of couplings--and a treat for the opera lover. --Robert Levine

Customer Reviews:

Most Famous???.......2007-05-14

The title of this cd is misleading and I found myself wondering whose list did they use. That is not to say that there aren't some real treasures included here. The duet from Lakme is lovely in every way, Mady Mesple in particular, very beautful and very french, and far superior to Sutherlands hooty approach. Scotto and Bergonzi are superb, the Tristan and Isolde of Vickers and Dernesch truly other worldly, and the presentation of the rose duet with the young Ludwig and the astonishing Teresa Stich- Randell had me playing it over and over and I still can't believe it, but the most famous??? This cd is definitly worth buying, and I hated giving it only 3 stars but if you're talking most famous you could fill a couple of cd's with Puccini, not to mention Verdi, Mozart, etc. before Bizet's Les Pecheurs des perles, beautiful as it is, made the most famous list.

Only one song knew well.......2007-05-14

I should have done more research. The last song is the only one I could easily recognize. Live and learn.

The Most Famous Opera Duets.......2007-01-05

This seller truly makes a purchaser confident in the product as well the time in which is promised.

Thanks again!!!!!

Good selection of opera highlights.......2006-11-04

Super performances by famous opera artists of the 20th century, most of them no longer performing and some of them deceased. I enjoy having their voices available at home.

The closest thing.......2006-08-06

This is a marvelous CD, especially the Pearl Fisher's duet with Gedda and Blanc. I would rank that performance second all time, just below the
forever unforgettable Bjoerling/Merrill version. Worth the price just for that selection, and all the rest is top rate as well.

An Introduction to Der Ring des Nibelungen

Average customer rating:

Ring introduction critique
FASCINATING STUDY FOR NOVICES AND AFFICIONADOS ALIKE
Welcome back to a classic analysis
Essential for Understanding Wagner's Ring Cycle
Very Functional

An Introduction to Der Ring des Nibelungen
Deryck Cooke , Georg Solti , Wiener Philharmoniker , Anita Valkki , Berit Lindholm , Birgit Nilsson , Brigitte Fassbaender , Christa Ludwig , Claire Watson , Claudia Hellmann , Dame Gwyneth Jones , Dietrich Fischer-Dieskau , Eberhard Wächter , George London , Gerhard Stolze , Gottlob Frick , Grace Hoffmann , Gustav Neidlinger , Hans Hotter , Helen Watts , Helga Dernesch , Hetty Plumacher , Ira Malaniuk , James King , Jean Madeira , Joan Sutherland , Kirsten Flagstad , Kurt Böhme , Lucia Popp , Marga Höffgen , Marilyn Tyler , Maureen Guy , Oda Balsborg , Paul Kuen , Régine Crespin , Set Svanholm , Vera Little , Vera Schlosser , Waldemar Kmentt , Walter Kreppel , and Vienna Philharmonic Orchestra
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Ring of the Nibelung

ASIN: B00000424H
Release Date: 2005-09-13

Tracks:

Of All Great Musical Compositions... (Examples 1-4)
The Fundamental Symbol... (Examples 5-11)
Returning Now To The Nature Motive... (Examples 6, 12-16)
A Number Of Further Motives... (Examples 5, 17-21)
A Second, Much Smaller Family... (Examples 22-25)
So Much For Nature. (Examples 26-38)
The Cause Of The Deterioration... (Examples 39-44)
The Other Transformation... (Examples 45-48)
Several Other Motives... (Examples 49-52)
Two Further Motives... (Examples 41, 53-61)
The Basic Motive Associated With The Spear... (Examples 62-68)
Along Another, More Complex Line... (Examples 69-72)
In Act Two Of Walkure... (Examples 69, 73-75)
Returning Now To Act Two Of Walkure... (Examples 76-79)
Love Is Another Of The Central Symbols... (Examples 80-83)
Later In The Same Scene... (Examples 84-87)
Freia's Motive Has Two Independent Segments... (Examples 88-91)
The Label 'Flight'... (Example 92)
When Fasolt, In Scene Two Of Rhinegold... (Examples 93-98)
A Little Later In The Interlude... (Examples 99-103)

Tracks:

The Other New Motive... (Examples 104-109)
There Are Several Independent Love-Motives... (Examples 110-114)
The Characters In Whose Lives... (Examples 115-120)
One Further Motive Belongs... (Example 121)
The Sword Motive Recurs... (Examples 122-130)
Ironically, This Phrase... (Examples 131-135)
Closely Associated With Gutrune's Motive... (Examples 136-140)
Here We Come To The End... (Examples 141-146)
Complemtary To This Symbol... (Examples 147-149)
One Last Central Symbol... (Examples 150-157)
One Further Motive Connected... (Examples 158-161)
There Are One Or Two Motives... (Examples 162-168)
These Motives Of Alberich And Mime... (Examples 169-171)
Quite A Number Of The Subsidiary Motives... (Examples 172-176)
Besides This Family Of Motives... (Examples 177-180)
Our Final Example... (Examples 10, 181, 182)
In The Final Scene Of Gotterdammerung... (Examples 181-183)
Even More Masterly... (Examples 184-188)
Now If We Return... (Examples 189-191)
This Masterly Way... (Examples 192, 193)

Amazon.com

When Wagner set the Ring to music, he intended the orchestra to act in the fashion of a chorus from a classic Greek tragedy--setting the mood and commenting on the action. In order to allow a nonverbal musical line to reflect on the plot, Wagner developed a psychologically and musically complex symbology to communicate his thoughts to the listener. From the beginning the Ring has spawned numerous written commentaries on the relationships of the motif structure, but by using examples from the Decca Ring recording, Deryck Cooke's thoughtful spoken commentary is by far the most accessible guide for either the fledgling Ring enthusiast or the seasoned veteran. --Christian C. Rix

Customer Reviews:

Ring introduction critique.......2006-11-04

This is very worthwhile, at the same time it requires time, patience and attention, but it does provide some keys to better enjoyment of a sensational piece of music.

FASCINATING STUDY FOR NOVICES AND AFFICIONADOS ALIKE.......2006-08-16

This may look an intimidating, daunting and dull prospect - a 2+ hour lecture on the motifs in the Ring. Don't be put off. Whether you're a relative novice to the Ring and want to find out what it's all about, more experienced with a desire to understand the composer's methods better or an afficionado who thinks he knows it all inside out, there is great pleasure as well as elucidation to be had from this set. Originally made to accompany the Decca Solti Ring, it contains a multitude of musical illustrations taken from those recordings as well as some specially recorded by Solti just for this Introduction.

It wasn't the first time this has been tried. The famous HMV sets from the late 20's also included recorded examples of over 100 motifs. (These, by the way, are available as part of the Pearl reissue of those wonderful HMV recordings). What that set lacked was the wonderful insights as well as the approachability of the talk by Deryck Cooke. Cooke was a great and much missed musicologist - a Mahler expert responsible for the performing edition of the Tenth Symphony still most played today, a fascinating explorer into the nature of music's basic building-blocks in his excellent book, The Language of Music, and an inspiring and elucidating critic of Wagner's work as shown by the fascinating book he left unfinished at his death, I Saw the World End.

On these CDs he does much more than list the leitmotifs and identify them as calling-cards. He shows the amazingly integrated and organic growth of the musical material that Wagner uses throughout his vast work. He demonstrates how motifs can change their sense and meaning as they evolve through the drama. And he shows how the complex combinations of motifs can radically advance both the musical and the dramatic narrative of the piece. There are even places where he corrects the misinterpretation of some of the motifs that had become ingrained from early commentators' false labels.

This set should engage and enlighten anyone with an interest in Wagner's huge and inexhaustible tetralogy. Do give it a try - no matter how far down the road to Wagnerianism you are.

Welcome back to a classic analysis.......2006-05-28

Deryck Cooke's lecture series upon THE RING is almost as much a classic by now as the Solti RING cycle, with which it was originally issued on LP, and from which it derives its musical examples. The difference is that whereas the Solti RING has been continuously in print ever since it was completed, and was among the first opera sets to benefit from the CD revolution, the Cooke analysis was for long almost totally unobtainable. Now we have it back. It should be welcomed: it is a classic. Cooke's mellow, deep voice with the hint of a Celtic burr - which made him ideal on BBC radio - patiently explains Wagner's melodic, rhythmic, and harmonic metamorphoses to such good effect that if you own this recording, you really require no other RING analysis. (A pity about the abrupt beginnings and endings of too many vocal and orchestral illustrations, though.) Musicology lost a fine, sensitive thinker with Cooke's premature death in 1976.

If all you want is dilettantish baby food, there are plenty of dumbed-down Wagner commentaries on the market, stretching from Anna Russell's famous monologue (which doesn't pretend to be anything other than a parody aimed at morons) to the latest standard-issue "Wagner-was-a-Nazi-boo-hiss" feuilleton (which, unfortunately, does). Without reasonable score-reading skill you will find Cooke useless, however diligently you have ploughed through Marx, Jung, Freud, or other gurus purportedly relevant to THE RING. Cooke expects you to use your brains and your musical sense. Quelle horreur. At today's BBC his "elitism" would render him unemployable.

Essential for Understanding Wagner's Ring Cycle.......2006-05-15

I originally bought this set on vinyl in the early 70s when I discovered the Ring in college. I studied the records and booklet assiduously, and after about three run-throughs I finally started getting it. Wow! Thirty-five years later, I still remember Mr. Cooke's analyses of various motive families, and I don't know how I could have mastered and loved the Ring without him. I now own this set on CD and listen again on the rare occasion of attending a Ring performance. My wife calls me a "Ring nut," but of course I'm nuts about many other things as well.

Bottom line, buy this set and study it if the Ring has captivated you as it has countless others. The presentation is dry, but sticking with it brings measureless and longlasting rewards.

Very Functional.......2006-03-19

This CD set is excellent for what it sets out to do: present the leitmotives of the Ring according to their relationship to one another and their role in developing both characters and plotlines. Deryck Cooke's lectures on each motive are very insightful, very helpful at cueing the listener into the semantic aspect of Wagner's orchestral writing. The one drawback is that the musical examples are a bit jarring. Without fade-ins or -outs, the engineering is quite barbaric. And though the orchestra was, I believe, conducted by Solti, and is beautifully done, the vocal performances can be quite unpleasant. Point being: this is not background music, but in accomplishing what it sets out to do, it is very successful, and I don't know of anything else like it.

Average customer rating:

A masterpiece always to remember
The best in it's own way
The most Theatrical Tristan und Isolde...my personal favorite!
Alone in the top
Bayreuth at its best

Tristan Und Isolde

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Wagner: Tristan und Isolde
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Mozart: Don Giovanni

ASIN: B000001GXS
Release Date: 1997-11-11

Tracks:

Tristan und Isolde: Prelude
Tristan und Isolde: 'Westwarts schweift der Blick'
Tristan und Isolde: 'Frisch weht der Wind der Heimat zu'
Tristan und Isolde: 'Weh, ach wehe! Dies zu dulden'
Tristan und Isolde: 'Auf! Auf! Ihr Frauen! Frisch und Froh!'
Tristan und Isolde: 'Herr Tristan trete nah!'
Tristan und Isolde: 'Begehrt, Herrin, was Ihr wunscht'

Tracks:

Tristan und Isolde: Prelude
Tristan und Isolde: 'Horst du sie noch?'
Tristan und Isolde: 'Isolde! Geliebte! - Tristan! Geliebter!'
Tristan und Isolde: 'O sink hernieder, Nacht der Liebe'
Tristan und Isolde: 'Einsam wachend in der Nacht'
Tristan und Isolde: 'Lausch, Geliebter! - Lass mich sterben!'
Tristan und Isolde: 'Doch unsre Liebe, heisst sie nicht Tristan und - Isolde?'
Tristan und Isolde: 'So starben wir, um ungetrennt'
Tristan und Isolde: 'Rette dich, Tristan!'
Tristan und Isolde: 'Tatest du's wirklich? Wahnst du das?
Tristan und Isolde: 'O Konig, das kann ich dir nicht sagen'

Tracks:

Tristan und Isolde: Prelude - Mig Langsam
Tristan und Isolde: (Man hoert einen Hirtenreigen)
Tristan und Isolde: 'Kurwenal! He! Sag, Kurwenal!'
Tristan und Isolde: 'Hei nun! Wie du kamst?'
Tristan und Isolde: 'Noch losch das Licht nicht aus'
Tristan und Isolde: 'Noch ist kein Schiff zu seh'n!'
Tristan und Isolde: 'Bist du nun tot? Lebst du noch?'
Tristan und Isolde: 'O diese Sonne! Ha, dieser Tag!'
Tristan und Isolde: 'Ha! Ich bin's, ich bin's, suessester Freund!'
Tristan und Isolde: 'Kurwenal! Hoer! Ein zweites Schiff!'
Tristan und Isolde: 'Mild und leise wie er lachelt'

Amazon.com

Recorded in performance, but one act at a time so that the principals could sing full-out, this is one of the most electrifying opera recordings of the stereo era. Birgit Nilsson blazes as Isolde, and Wolfgang Windgassen's Act-III evocation of the delusional Tristan is heart-wrenching. Karl B"hm inspires transcendent playing from the Bayreuth forces, and the sound is stunning. --Ted Libbey

Customer Reviews:

A masterpiece always to remember.......2007-02-11

For all you Wagner haters out there; please listen to these five excerpts of this recording and you will be convinced otherwise:
1. Christa Ludwig's Brangane: Act II - "Einsam Wachend in der Nacht..."
2. Birgit Nillson's & Wolfgang Wingassen's Isolde & Tristan: Act II - "O sink hernieder..."
3. Wolfgang Windgassen's Tristan: Act III - " Dunkt dich dass, Ich weiss es anders..."
4. Eberhardt Wachters Kurwenal: Act III - "O wonne, nein, ..."
5. Birgit Nilsson's Isolde: Act III - "Mild und leise..."
Thanks

The best in it's own way.......2005-11-11

For me, the SECOND-most important aspect of Tristan und Isolde is the power, both from the orchestra and from the singers. In that respect, this is probably the very best recording out there of Tristan und Isolde. The singers are all powerful, both in sheer sound and in conveying strong emotions, and the conducting is extremely exciting. Birgit Nilsson is absolutely incredible: she just sings at the top of her lungs, and the sound of her voice remains gorgeous nonetheless! The power of her anger in Act I is, in my experience, unequalled elsewhere on opera recordings (though maybe some Callas recordings and perhaps some Del Monaco recordings would be candidates for Second Prize).
However, the MOST important aspect of Tristan und Isolde, in my opinion, is the harmonic language, which creates a very special atmosphere, an atmosphere that is spooky, exotic, very erotic but also somehow calm and calming.
This recording is not a TOTAL failure in that respect, but I would say there are MANY other recordings that bring out the above-mentioned atmosphere better than this one does.
Here, Bohm's conducting sometimes "runs over" those harmonic nuances, not to mention many dynamic nuances and little (momentary)tempo changes that are missed.
In addition, Windgassen's singing took a lot of getting used to, for me. He has power, but not beauty of voice. He has a powerful interpretation, but not really beautiful operatic phrasing (Fritz Uhl, the Tristan in Solti's set, has the opposite: a beautiful sound and beautiful bel-canto style phrasing, but not nearly enough power, vocally or emotionally).
To sum up: This is THE exciting Tristan, but for me, other recordings of this work bring out the real essence of the piece better. My favorite is Karajan's studio recording, followed by Solti's (the latter also features Birgit Nilsson, who is ALMOST as exciting there as she is here, but not quite).

The most Theatrical Tristan und Isolde...my personal favorite!.......2005-11-04

It is very hard to try to write a recommendation for a perfect recording of Tristan und Isolde, since each set has its own set of pros and cons. However, of all the Tristans I have listened to, Karl Böhm's recording made at 1966 in Bayreuth seems to be the one that I come back to the most. There was a time when I could not appreciate Böhm's conducting because I felt that he rushed through the lucid and erotic qualities of the score. When I listen to this now, with fresher ears and having listened to the majority of Tristan recordings on the market, I find that his conducting gives Tristan an electricity that cannot be found in other recordings. There is a passion and energy that you can find in Böhm's conducting that you cannot hear in Karajan's or Solti's interpretations, and this set definitely tops Berstein's and Kleiber's recording in many respects. The orchestra plays beautifully under his direction, just as they did in the Ring for Böhm exactly a year later. I would say that the conductor's reading of the score is full of energy, passion, eroticism, forward propulsion and movement, and pathos. The conductor's somewhat Mozartian/ classical treatment of the Romantic and chord-saturated score gives it a lift and an elegance without sacrificing the Wagnerian ethos that make it so special. I would say that this is the most masterfully conducted Tristan, and adding to that the special Bayreuth sound and you have one of the most orchestrally captivating experiences you'll ever hear.

However, the one factor that places this Tristan above all other recordings is the amazing cast assembled in this massive project. Birgit Nilsson, in my opinion, is the greatest Isolde...period. Her first act Isolde is a powerhouse of rage with the jealousy, love, revenge, sadness, resignation and all other of Isolde's character aspects that make her such a complex heroine. Her second act Isolde is meltingly tender, and she is able to scale down her voice to make the love duet sound like silk. Her third act Liebestod is an apotheosis of years of learning this role, and only Nilsson can sing it with the rapture and beauty that it deserves. I was wrong to find her too steely. Not many voices like hers come in our lifetime, and how lucky we are that she came during a time when voices can be captured in their greatest performances.

Below this towering standard is the Tristan of Wolfgang Windgassen. Although he does not have the beautiful timbre of Placido Domingo, the haunting voice of Vickers, or the reticent ease of Lauritz Melchior's voice, he offers drama and intensity that would never be matched by any tenor before or after him. His phrasing is exemplary, and his intelligence makes his Tristan one of the most compelling accounts on record. In fact, after Vickers, he is perhaps the most intense Tristan ever to have sung the part, albeit the fact that his voice is taken to its limits in the third act delirium. I don't know how I would live without his Tristan, as Birgit herself said that "Wolfie" saved her many a time when she got lost in the extremely exposed and difficult lead roles.

The supporting cast is perhaps the best on records. Christa Ludwig is the most beautiful and theatrical Brangäne, and Eberhard Wächter is a youthful, yet testosterone induced Kurwenal. You must hear Ludwig's calls from the tower...I think that alone is the price of this landmark recording. Their respective interaction with the leads is a must-hear--especially Ludwig's interactions with Nilsson in Act I. Martti Talvela sings the part of King Marke with a nobility and the kind of gravitas I've only heard again in Rene Pape, and he should be referred to as a reference for this short, yet pivotal role. The smaller parts in this opera are taken by Peter Schreier, Gerd Nienstedt, and Claude Heater--all of whom are great Bayreuth artists.

Of course, you must still hear other recordings of Tristan. I could recommend Karajan's 1952 Bayreuth account, or Kleiber's 1976 La Scala, or Pappano's studio recording with Domingo. You should also try Reiner's set with Flagstad and Melchior, but for the complete Tristan experience, this set is the one that you should return to if you want to hear a true Wagnerian epic taking place in your living room. Bravi tutti!

Alone in the top.......2005-10-06

OK fellows I don`t know Furtwangler celebrated recording. But having listened to this it is difficult not to accept this is THE ULTIMATE TRISTAN. Why? Look at the conducting. Like a storm. Not a weak moment. Truly propulsive. Look at how balanced is the orchestra. In the Liebestodt at the end Isolda`s high notes are matched with the glorious brass section instead of the usual "soup" sound of our usual orchestra. See how resonant brass are and then try the same passage with the same singer under Solti: it's like replacing chocolate for soup. For me Bayreuth sound is the real "period" sound for Wagner. And with the intensity we have here. So it must be very difficult to listen to slower recordings like Furtwangler, specially when the approach I just have described sounds to me so definitive. Sound is excellent.
About the cast: Brangane very vibratoed but good, also is Wachter. I don't like Marke's voice (the singer uses a voice that sounds "broken" sometimes, an awfull effect). Windgassen may not have a strong voice but sounds so human ... great. Then there is the other only reason to buy and keep this recording appart from Bohm: Nilsson. In what planet was she born? For she is really superhuman. Listen to her seductive voice and well, Callas was such a great artist, but in my humble opinion, standing next to Nilsson, in vocal matters Callas is SO WEAK ... If an extraterrestrial listened only to 1 single recording of human voice (speaking of this) would think Nilsson was the best singer in history. It would be very difficult to change its mind.

Bayreuth at its best.......2005-08-18

I was lucky enough to be present at the last outing of this Wieland Wagner production with essentially the same cast - the curtain calls went on for more than 45 minutes!

Undoubtedly, this is a totally exceptional performance - one of those live performances that catches fire from the first enigmatic rise and fall to the famous 'Tristan' chord and never lets you go until long after the last note of the Liebestod has died away. Bohm (often accused of being kapellmeisterish at the time) is electric - the music ebbs and flows with the passion of the protagonists, at times whipped up to almost hysterical proportions (Tristan's Act 2 arrival and the height of his dementia in Act 3 for example), at others achingly lonely (Marke's monologue or the shepherd's piping come to mind).

The singing, too, is unsurpassed. Nilsson and Windgassen are in superlative form throughout - Windgassen tired in Act 3? His character is dying, for God's sake - and he certainly rises to the excitements of Isolde's arrival and the ripping of the bandages from his wound. Christa Ludwig sings Brangane's warnings from the tower with a haunting rapture that matches that of the lovers downstage. The much-missed Martti Talvela sings his (presumably huge) socks off as Marke, turning a character who can be a bore into, for his moment, the most sympathetic and moving person in the opera.

I've never got it with Furtwangler and Flagstad by the time of that performance sounded too maternal for my taste. Bernstein is brave and at times fascinating but his cast aren't as good. Karajan is too overcooked and Vickers - often a great Tristan on stage - was too self-indulgent here. Kleiber (who I also heard, magnificently, at Bayreuth) conducts wonderfully and has a beautifully sung Isolde in Margaret Price, but his Tristan is the rather pedestrian Kollo.

For me, this Bohm recording is the yardstick Tristan and a great example of Bayreuth at its absolute best. The engineers capture the unique Bayreuth sound well, too.

Average customer rating:

Faulty titling
For the beginner
Opera or not
Superlative collection

100 Best Opera Classics

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

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100 Best Piano Classics
The Best Opera Album in the World...Ever!

ASIN: B000GPIPQU
Release Date: 2006-08-29

Tracks:

Voi Che Sapete - English Chamber Orchestra
Porgi Amor - English Chamber Orchestra
Deh, Vieni Alla Finestra - London Philharmonic Orchestra
Batti, Batti, O Bel Masetto - London Philharmonic Orchestra
Der Holle Rache - Orchester der Bayerischen Staatsoper
O Isis And Osiris - Cornelius Hauptmann
Temerari...Come Scoglio - Philharmonia Orchestra
La Calunia E Un Venticello - London Symphony Orchestra
Nei Giardin Del Bello (Veil Song) - Carlo Maria Giulini
Casta Diva - Maria Callas
Se Quel Guerrier...Celeste Aida - Zubin Mehta
Tenesta La Promessa...Addio Del Passato - Royal Philharmonic Orchestra
Niun Mi Tema - Berliner Philharmoniker
Un Bel Di Vedremo - Sir John Barbirolli
E Lucevan Le Stelle - Philharmonia Orchestra
Si, Mi Chiamano Mimi - Mirella Freni
In Quelle Trine Morbide - New Philharmonia Orchestra
Signore, Ascolta - London Symphony Orchestra
Recitar...Vesti La Giubba - Philharmonia Orchestra
Amor Ti Vieta Di Non Amar - Orchestra Of The Royal Opera House

Tracks:

Le Veau D'or Est Toujours Debout - Boris Christoff
Ou Va La Jeune Hindoue - Alain Lombard
L'amour, L'amour...Ah! Leve-toi, Soleil - Michel Plasson
Allons! Il Le Faut Notre Petite Table - Michel Plasson
Toute Mon Ame Est La...Pourquoi Me Reveiller - Orchestre De Paris
Quand La Flamme De L'Amour - Jose Van Dam
L'Amour Est Un Oiseau Rebelle - Victoria De Los Angeles
A Cette Voix... Je Crois Entendre Encore - Alain Vanzo
Une Puce Gentille - Gabriel Bacquier
Je Vais Mourir... Adieu, Fiere Cite - Regine Crespin
Mon Coeur S'Ouvre A Ta Voix - Rita Gorr
Wie Todesahnung... O Du Mein Holder Abendstern - Dietrich Fischer-Dieskau
Johohoe! Traft Ihr Das Schiff Im Meere An? - Anja Silja
In Fernem land - Jess Thomas
Heil Dir, Sonne! - Siegfried Jerusalem
Mild Und Leise - Helga Dernesch

Tracks:

Che Faro SEnza Euridice? - Agnes Baltsa
Der Vogelfanger Bin Ich Ja - Walter Berry
Finch'han Dal Vino - Nicolai Ghiaurov
E Susanna Non Vien!... Dove Sono - Barbara Hendricks
Abscheulicher! - Christa Ludwig
Ne M'Abandonne Pas, espoir De La Vengeance... Asile Hereditaire - Nicolai Gedda
Largo Al Factotum - Tito Gobbi
Ella Giammai M'Ammo! - Ruggero Raimondi
La Donna E Mobile - Alfredo Kraus
Di Quella Pira - Franco Corelli
Esultate! - James McCracken
Dio! Mi Potevi Scagliar - Placido Domingo
Vissi D'Arte, Vissi D'Amore - Maria Callas
In Questa Reggia - Ghena Dimitrova
Tanto Amore - Janine Micheau
O Mio Babbino Caro - Montserrat Caballe
Ed Ache Beppe Amo - Luciano Pavarotti
Poveri Fiori - Maria Callas
Come Un Bel Di Di Maggio - Roberto Alagna

Tracks:

Les Grands Seigneurs... Ah! Je Ris De Me Voir Si Belle - Victoria De Los Angeles
Marie, Avec L'Enfant Jesus - Jules Bastin
Heureux Petit Berger - Janine Micheau
Connais-Tu Le Pays - Jane Rhodes
Elle Ne Crooyait Pas Dans Sa Candeur - Nicolai Gedda
Votre Toast, Je Peux Vous Le Rendre... Toreador - Victoria De Los Angeles
les Oiseaux Dans La charmille - Mady Mesple
Maintenant, Chantons..., Devant La Maison De Celui Qui T'Adore - Gerard Souzay
Depuis Le Jour - Beverly Sills
Da Geht er Hin - Elisabeth Schwarzkopf
Einsam In Truben Tagen - Regine Crespin
Dich, Teure Halle - Hildegard Behrens
Leb Wohl, Du Kuhnes, Herrliches Kind - Dietrich Fischer-Dieskau
Hojotoho! Hojotoho! - Ute Walther

Tracks:

Non Piu Andrai - Thomas Allen
La Ci Darem La Mano - Graziella Sciutti
Duo: Pa-Pa-Pa - Andreas Schmidt
Soave Sia Il Vento - Delores Ziegler
Mira, O Norma - Maria Callas
Il Dolce Suono - Edita Gruberova
Com'E Gentil - Alfredo Kraus
Una Voce Poco Fa - Maria Callas
Libiamo Ne' Lieti Calici - Alfredo Kraus
Gualtier Malde!... Caro Nome - Michele Pertusi
Ritorna Vincitor - Birgit Nilsson
Ave Maria - Katia Ricciarelli
Nessun Dorma - Franco Corelli
Che Gelida Manina - Nicolai Gedda
Ebben? Ne Andro Lontana - Barbara Hendricks

Tracks:

Mes Amis, Ecoutez L'Histoire - Nicolai Gedda
Mieux Vaut Mourir... Amour Sacre De La Patrie - Alfredo Kraus
Ah, Je Veux Vivre Dans Ce Reve - Mady Mesple
Puisqu'on Ne Peut Flechir... Vainement, Ma Bien-Aimee - Henry Legay
Suis-je Gentille Ainsi?... Je Marche Sur Tous Les Chemins - June Anderson
Belle Nuit, O Nuit D'Amour - Jessye Norman
La Fleur Que Tu M'Avais Jetee - Jose Carreras
C'est Toi!... Au Fond Du Temple Saint - John Aler
Werther, Werther, Qui M'Aurait Dit... Ces Lettres! - Tatiana Troyanos
Viens, Mallika - Mady Mesple
Ah! Je Suis Seule Enfin... Dis-Moi Que Je Suis Belle - Beverly Sills
Alerte, Alerte!... Anges Purs, Anges Radieux - Placido Domingo
Boris's Farewell - Boris Christoff
Schreckensschwur! - Gary Lakes
Die 'Selige Moorgentraum-Deutweise'... Selig, Wie Die Sonne - Peter Schreier
Was Am Besten Er Kann... Nothung! Nothung! - Siegfried Jerusalem

Customer Reviews:

Faulty titling.......2007-05-30

The music is wonderful. HOWEVER, only the first disc has the correct song titles and artists. The other five discs have most of the same song titles and artists as Disc #1, although the music on each disc conforms to what is listed in the catalog. When we attempted to rip the music onto our "Windows Media Player", where we keep all our music stored to play through our hi-fi system, we could copy only the first disc. All the other discs had those same song titles and artists (although the music was different) and the program reported only that the song was already copied. Apparently your quality control was off work that day.

Have you had other such complaints? One wouldn't know about this if one were to simply play the discs on a CD player. They would seem to be fine. Is there any recourse for those of us who have a computer-based hi-fi system?

For the beginner.......2007-03-08

This is a great collection for someone who knows they like opera music but don't know where to start. This will probably be all the opera I will ever need now.

Opera or not.......2007-02-13

For those new to opera, this set is an excellent provider of a wide variety of operatic works, rendered by artists well known even to non-opera officionados.

Superlative collection.......2006-10-11

A collection of 100 individual arias and ensembles from the EMI catalogue of complete opera recordings made between 1955 and 2003. It includes a wide selection from popular operas by Italian, Austrian, German, Russian and French composers. The French are especially well represented unlike most such anthologies. And a few more obscure contributions are thrown in, like an aria from Catalani's La Wally. A judicious balance of musical periods and styles, and the very best singers of the last half of the last century. And remarkably, the whole collection of 6 CDs, over 7 hours of music, is being sold for the cost of only 1 CD !

Lehár - The Merry Widow / Schwarzkopf, Wächter, Steffek, Gedda, Knapp, von Matacic

Average customer rating:

Excellent quality, but lots of talking!
IT'S "ABRIDGED', BUT WHAT A PERFORMANCE!!!!!!!!
Champagne all around--a great recording
ALERT !!!
37 years with this recording

Lehár - The Merry Widow / Schwarzkopf, Wächter, Steffek, Gedda, Knapp, von Matacic
Franz Lehár , Lovro von Matacic , Elisabeth Schwarzkopf , Eberhard Wächter , Philharmonia Chorus & Orchestra , Nicolai Gedda , Hanny Steffek , Peter Knapp , and Doreen Murray
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
Similar Items:

J. Strauss: Die Fledermaus / Schwarzkopf, Gedda, Streich, Krebs, Kunz, Christ; Karajan
Richard Strauss - Capriccio / Schwarzkopf, Wächter, Gedda, Fischer-Dieskau, Hotter, Ludwig, Moffo, Philharmonia Orchestra, Sawallisch
Great Recordings Of The Century - Elisabeth Schwarzkopf Sings Operetta / Ackermann
Great Recordings Of The Century - Humperdinck: Hansel Und Gretel / Karajan, Schwarzkopf, Grummer, Metternich, et al
Strauss - Der Rosenkavalier / Schwarzkopf · Ludwig · Karajan

ASIN: B00004VVZF
Release Date: 2000-08-15

Tracks:

Act One, No.1: Intro/Verehrteste Damen Und Herren - Philharmonia Orch/Lovro Von Matacic/Kurt Equiluz/Philharmonia Chor/Reinhold Schmid/Josef Knapp
Act One, No.1. Dialog: Danke, Danke, Meine Herrschaften - Josef Knapp/Hans Strohbauer/Kurt Equiluz/Hanny Steffek/Nicolai Gedda
Act One, No.2: So Kommen Sie! 'S Ist Niemand Hier! - Hanny Steffek/Nicolai Gedda
Act One, No.2: Ich Bin Eine Anstand'ge Frau - Hanny Steffek/Nicolai Gedda
Act One, No.2. Dialog: Nun, Njegus, Waren Sie Beim Grafen Danilo? - Josef Knapp/Franz Boheim/Kurt Equiluz/Hans Strohbauer
Act One, No.3. Dialog: Frau Glawari Darf Keinen Pariser Heiraten/Bitte, Meine Herrn - Josef Knapp/Elisabeth Schwarzkopf/Kurt Equiluz/Hans Strohbauer/Philharmonia Chor/Reinhold Schmid
Act One, No.3. Dialog: Gnadige Frau, Ich Rechne Es Mir Zur Hohen Ehre An - Josef Knapp/Nicolai Gedda/Hanny Steffek/Elisabeth Schwarzkopf/Hans Strohbauer/Kurt Equiluz...
Act One, No.3. Dialog: Also Bitte, Njegus, Ich Bin Hier/O Vaterland, Du Machst Bei Tag...Da Geh'... - Eberhard Wachter
Act One, No.4. Dialog: Njegus, Geliebter, Ich Bin Hier - Eberhard Wachter/Franz Boheim
Act One, No.4. Dialog: Bitte Noch, Bitte Noch - Hans Strohbauer/Kurt Equiluz/Elisabeth Schwarzkopf/Eberhard Wachter
Act One, No.4. Dialog: Na Endlich, Graf Danilo, Sind Sie Da!/No.6. Dialog: Weil - Weil - Mein... - Josef Knapp/Eberhard Wachter/Philharmonia Chor/Reinhold Schmid
Act One, No.6: Damenwahl! Hort Man Rufen Rings Im Saal! - Philharmonia Chor/Reinhold Schmid/Elisabeth Schwarzkopf/Eberhard Wachter/Kurt Equiluz...
Act One, No.6: Hilfe Kommt Zur Rechten Zeit! O Kommet Doch, O Kommt, Ihr Ballsirenen - Eberhard Wachter/Philharmonia Chor/Reinhold Schmid
Act One, No.6: O Vaterland, Du Machst Bei Tag...Der Junge Mann Tanzt Polka - Eberhard Wachter/Kurt Equiluz/Hans Strohbauer/Elisabeth Schwarzkopf/Hanny Steffek...
Act One, No.6: Pardon, Madame, Zuviel Reklam'! - Nicolai Gedda/Elisabeth Schwarzkopf/Eberhard Wachter/Hanny Steffek/Hans Strohbauer...
Act One, No.6: Der Letzte Ging, Sie Sind Befreit - Eberhard Wachter/Elisabeth Schwarzkopf

Tracks:

Act Two, No.7: Intro/Ich Bitte, Hier Jetzt Zu Verweilen - Philharmonia Orch/Lovro Von Matacic/Elisabeth Schwarzkopf
Act Two, No.7: Tanz: Mi Velimo Dase Dase Veslimo! - Philharmonia Chor/Reinhold Schmid
Act Two, No.7: Nun Lasst Uns Aber Wie Daheim...Es Lebt' Eine Vilja (Vilja-Lied)/Tanz: Mi Velimo... - Elisabeth Schwarzkopf/Philharmonia Chor/Reinhold Schmid
Act Two, No.7. Dialog: Was Sagen Sie, Njegus - Josef Knapp/Franz Boheim/Eberhard Wachter
Act Two, No.8. Dialog: Graf Danilo, Ich Wundere Mich/Heia, Madel, Aufgeschaut...Dummer, Dummer... - Elisabeth Schwarzkopf/Eberhard Wachter
Act Two, No.9. Dialog: Herr Von Cascada, Verzichten Sie Auf Die Witwe! Wie Die Weiber...Ja, Das... - Hans Strohbauer/Kurt Equiluz/Eberhard Wachter/Josef Knapp
Act Two, No.10. Dialog: Mein Tapferer Reitersmann/Tanz (Kolo) - Elisabeth Schwarzkopf/Eberhard Wachter
Act Two, No.10. Dialog: Sehen Sie, Da Wurde Ich Jetzt Zu Meinem Manne Sagen/Tanzduett (Walzer) - Elisabeth Schwarzkopf/Eberhard Wachter
Act Two, No.11. Dialog: Nein, Nein, Nein, Nein/Mein Freund, Vernunft! - Hanny Steffek/Nicolai Gedda
Act Two, No.11: Wie Eine Rosenknospe - Hanny Steffek/Nicolai Gedda
Act Two, No.11: Sieh Dort Den Kleinen Pavillon - Hanny Steffek/Nicolai Gedda
Act Two, No.11. Dialog: Die Baronin Und Herr Rosillon - Franz Boheim/Josef Knapp/Eberhard Wachter
Act Two, No.12: Ha! Ha! - Eberhard Wachter/Josef Knapp/Elisabeth Schwarzkopf/Hanny Steffek/Nicolai Gedda/Franz Boheim
Act Two, No.12: Wie Eine Rosenknospe - Nicolai Gedda/Elisabeth Schwarzkopf/Hanny Steffek/Eberhard Wachter/Josef Knapp
Act Two, No.12. Dialog: Nun Wissen Sie, Meine Herrschaften/Den Herrschaften Hab' Ich Was Zu... - Elisabeth Schwarzkopf/Philharmonia Chor/Reinhold Schmid/Nicolai Gedda/Hanny Steffek...
Act Two, No.12. Dialog: Meine Herrschaften/Ein Flotter Ehestand Soll's Sein...In Mir Tobt Es, In... - Elisabeth Schwarzkopf/Nicolai Gedda/Josef Knapp/Hanny Steffek/Philharmonia Chor/Reinhold Schmid...
Act Two, No.12: Es Waren Zwei Konigskinder - Eberhard Wachter/Elisabeth Schwarzkopf/Nicolai Gedda/Josef Knapp/Philharmonia Chor...
Zwischenspiel - Philharmonia Chor/Lovro Von Matacic
Act Three. Dialog: Njegus, Was Ist Das Fur Eine Musik? - Josef Knapp/Franz Boheim
Act Three, No.14: Ja, Wir Sind Es, Die Grisetten - Hanny Steffek/Eilidh McNab/Doreen Murray/Christine Parker/Rosemary Phillips/Noreen Willett...
Act Three, No.14. Dialog: Graf Danilo - Elisabeth Schwarzkopf/Eberhard Wachter
Act Three, No.15: Lippen Schweigen - Eberhard Wachter/Elisabeth Schwarzkopf
Act Three, No.15. Dialog: Oh, Ich Furchte, Wir Storen! - Josef Knapp/Eberhard Wachter/Hanny Steffek/Franz Boheim
Act Three, No.16: Ja, Das Studium Der Weiber Ist Schwer - Elisabeth Schwarzkopf/Josef Knapp/Eberhard Wachter/Nicolai Gedda/Hanny Steffek/Hans Strohbauer...

Customer Reviews:

Excellent quality, but lots of talking!.......2007-06-09

I actually bought this for my mom, who has the original recording on an LP. She said that this recording seems to have more talking than the original, and thus the magic and tempo of the original is compromised. It could be that she never heard the entire operetta since she is strictly an opera buff, but that said, she understands musicality and she didn't feel this particular CD captured the original integrity (even if this is one is actually more complete!).

IT'S "ABRIDGED', BUT WHAT A PERFORMANCE!!!!!!!!.......2006-08-04

I've heard more recordings of "The Merry Widow" than I can count, and many of them are enjoyable. None, however, has the infectious charm and elegance of this 1962 EMI version. True, the performance could probably have been accommodated on a single CD (with very few seconds to spare!), and yes, there are some cuts, but what is presented here constitutes something so special, so illuminating, and so magical that it hardly matters. Von Matacic shapes this cream puff of an operetta with even more verve that Otto Ackermann did on the previous 1953 EMI recording (also with Schwarzkopf), and one can almost "feel" the fizz of the champagne throughout the entire performance. Elisabeth Schwarzkopf was born to sing the title role, and in my humble opinion, no other soprano comes within miles of what she accomplishes here. Her idiomatic dialogue, her vocal shadings, and her musical instincts are balm to the ear. She easily surpasses her previous monophonic EMI performance of nine years earlier (and that was a great one!). Nicolai Gedda also surpasses his earlier work on that legendary 1953 recording, offering singing of very great lyricism and beauty. Eberhart Wachter was a very fine baritone, and made some wonderful recordings. His singing here, however, seems to me to be a little gruff, a little crude, and peppered with too much "speak singing", especially when heard in close proximity to Schwarzkopf and Gedda. Still, this was/is one of the greatest recordings EMI ever made, (truly a worthy entry to the "Great Recordings of the Century" series), and it showcases the artistry of Schwarzkopf magnificently. This would definitely be one of my "desert-island" recordings.
With the announcement this morning that Elisabeth Schwarzkopf passed away, this recording becomes even more legendary. It's a beautiful memorial to one of the greatest sopranos of the last century.

Champagne all around--a great recording.......2005-09-24

This classic recording doesn't need any more accolades, but I wanted to say how much joy it has brought me over the years. I have bought several modern Widows, too, but thrown them all away. This gem will be remembered as long as the work itself, and it's all the more amazing since Schwarzkopf never performed in a staged operetta of any kind.

P.S. - I came late to Schwarzkopf's mono Merry Widow under Otto Ackermann, from the early Fifties, which finds her in even more ecstatic voice. Many listeners may prefer Erich Kunz, whose Danilo is mellower and less fiercely temperamental than that of Wachter in the later set. No one should miss either recording, given the shortfall of joy these days.

ALERT !!!.......2005-07-06

After owning this CD for more than a decade, the goose bumps it instills have not diminished. Simply, this is one of the greatest operetta recordings of all time and should definitely not be missed.

Concerning it's limited minutes, that's not necessarily a bad thing. Perhaps those with a burgeoning interest in opera would look to this "short" recording as a introduction to the art form. My personal belief is that this recording is THE PERFECT recording to provide an introduction to opera. And, as those in the opera world know, we need more NEW fans for opera's future.

Although there is an enormous depth of beauty in Wager's Ring music to be heard, for example, one needs a proper introduction to opera in order to "hear" it. In music schools around the world, students are required to have many, many ear training courses before graduation. The simplicity in this recording of Die Lustige Witwe provides just the right amount of "ear training" for someone wanting to learn opera from the beginning.

This is not to suggest, however, that this recording IS simplex. It compares very nicely to Mozart. His music seems simple too ... yet those who know Mozart's music very well (and I refer to pianists Horowitz and Schnabel, among others) there is a sublime beauty that reveals itself upon years of study. This beauty is evident after years of listening to this recording. Hence, I still get goose bumps.

On a different note, every time I listen to Elisabeth Scwarzkopf on this CD there's a certain sadness that strikes me. Her vocal abilities coupled with her operatic personality are unmatched in today's opera world and they come through so clearly on this CD. True, the sound here isn't always perfect and it's sometimes too loud, but why be so picky. There is so much charm in her art form on this CD that it's simply amazing - and wonderful.

Lastly, Hanny Steffek and Nicolai Gedda (one of the most tender of tenors ever) share a chemistry that leaps off the CD.

Summary: Pure enjoyment - this MUST be purchased.

37 years with this recording.......2005-04-18

Ater 37 years of listening to this recording, in one or another of its forms, my delight is is undiminished. Steffek singing of the pavillon is incomparable. Gedda and Schwartkopf still give great pleasure, and von Karajan and Legge merit gratitude. Please consider acquiring his CD

Average customer rating:

Every scene and aria from Don Giovanni is a highlight
Good as it gets!
Pre-Bonynge Sutherland
Of all opera recordings, this is the best value...
Best Don Giovanni ever

Mozart: Don Giovanni [Highlights]

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Sutherland, Joan | Divas | Opera & Vocal | Styles | Music
Similar Items:

Mozart: Le Nozze di Figaro (Highlights)
Mozart: The Magic Flute (Highlights)
Mozart - Così fan tutte / Cuberli, Bartoli, Rodgers, Streit, Furlanetto, Tomlinson, Berlin Phil., Barenboim [highlights]
Verdi: Rigoletto (Highlights) / Sutherland, Pavarotti
Rossini: The Barber of Seville (Highlights)

ASIN: B000002S0W
Release Date: 1989-06-05

Tracks:

Don Giovanni: Overture
Don Giovanni: 'Madamina, Il Catalogo E Questo'
Don Giovanni: 'La Ci Darem La Mano'
Don Giovanni: 'Don Ottavio Son Morta... Or Sai Chi L'onore'
Don Giovanni: 'Dalla Sua Pace'
Don Giovanni: 'Fin Ch'han Dal Vino'
Don Giovanni: 'Batti, Batti, O Bel Masetto'
Don Giovanni: 'Tra Quest'arbori Celata'
Don Giovanni: 'Ah Taci, Ingiusto Core'
Don Giovanni: 'Deh Vieni Alla Finestra'
Don Giovanni: 'Il Mio Tesoro Intanto'
Don Giovanni: 'In Quali Eccessi, O Numi!'
Don Giovanni: 'Non Mi Dir, Bell'idol Mio'
Don Giovanni: 'Don Giovanni, A Cenar Teco M'invitasti'

Customer Reviews:

Every scene and aria from Don Giovanni is a highlight.......2003-07-05

With the new lower price in a different pressing, why not just get the whole set? Every single scene and aria and ensemble in Don Giovanni is marvelous. And we all know that this cast is definitive. Do it.

Good as it gets!.......2001-07-28

This is known as one of the best recordings of Don Giovanni, and I can see why! Wachter's Don is great- forceful, nasty, cruel. Taddei's Leporello is very good, too, and I enjoyed his "Catalogue" aria very much. Sutherland's Donna Anna almost is greater then everyone else! She threatens like the Don himself, and is very forceful as well. Her fiance, luckily, is not as wimpy as most Don Ottavios are. Schwarzkopf is a good Elvira, too. My only reservation is Sciutti's Zerlina. Though she sang beautifully, she sounded very weak in, "Batti, batti" or in, "Tra quest'arbora celata." Giulini's conducting is wonderful, so I'd suggest this cd.

Pre-Bonynge Sutherland.......2000-09-30

I don't care what you think about Sutherland's later recordings- you really ought to hear this. No mushy diction or moony mannerism here- it's crystal clear, and the voice sounds so gloriously fresh that it's actually poigniant to hear (I mean no disrespect to the path that Dame Joan and her husband took in developing her voice). She is perfection- precise, agile and yet powerful, not pasty like so many Annas; she sounds highly agitated (which is perfect for Donna Anna). If fact, she sounds like more of a threat to the Don than her tenor boyfriend. Highly recommended- and perfect in highlight form for those of you who own a full set and don't want to fork over the bucks for another full set.

Of all opera recordings, this is the best value..........2000-06-30

"Don Giovanni" is, in my humble opinion, Mozart's greatest work: a romantic and unforgettable journey into the darkest realms of his ingenius imagination. The complete opera, with its many dialogues, is really intended for the opera hall, for the vividness of the work can best be appreciated around the personae of theatre. The music, however, flows like the Danube, especially the hand-picked favorites. This cd is exquisite -- the best version available. Pop it into the stereo and let it play every track, for they are among Mozart's greatest pieces. The singers are simply outstanding -- and the Philharmonia, which is the orchestra to consider above all others when dealing with opera, is charming. I bought the cd a year ago for "La ci darem la Mano," and it remains my favorite aria of all time, and the cd itself is my favorite among an armoire filled with Mozart and dozens of other composers. I don't know why anyone would pass this cd up -- it is truly the best value in opera, and maybe in all classical music!

Best Don Giovanni ever.......1999-05-11

This is the absolute best Don Giovanni, ever. The cast speaks fo itself. With Joan sutherland just bursting to the Opera world as Donna Anna.

Average customer rating:

Superlative collection
Great value for the money
Great for the money and a good starter on opera....
Amazing Value

100 Best Opera Classics

Manufacturer: EMI Int'l
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music

Classical | Imports | Stores | Music

Opera & Vocal | Imports | Stores | Music
Similar Items:

The Most Famous Opera Arias
Best Classics 100
The Most Famous Opera Duets
The Best of Italian Opera
The #1 Opera Album

ASIN: B0007QOERC
Release Date: 2007-05-14

Tracks:

Voi Che Sepate - Teresa Berganza
Porgi Amor - Heather Harper
Deh, Vieni Alla Finestra - Thomas Allen
Batti, Batti, O Bel Masetto - Elizabeth Gale
Der Holle Rache - Edda Moser
O Isis Und Osiris - Cornelius Hauptmann
Temerari...Come Scoglio - Elisabeth Schwarzkopf
La Calunnia E Un Venticello - Ruggero Raimondi
Nei Giardin Del Bello - Ambrosian Opera Chorus
Casta Diva - Maria Callas
Se Quel Guerrier...Celeste Aida - Franco Corelli
Tenesta La Promessa...Addio Del Passato - Beverly Sills
Niun Mi Tema - Jon Vickers
Un Bel Di Vedremo - Renata Scotto
E Lucevan Le Stelle - Placido Domingo
Si, Mi Chiamano Mimi - Mirella Freni
In Quelle Trine Morbide - Montserrat Caballe
Signore, Ascolta - Kiri Te Kanawa
Recitar...Vesti La Giubba - Jose Carreras
Amor Ti Vieta Di Non Amor - Roberto Alagna

Tracks:

Le Veau D'Or Est Toujours Debout - Boris Christoff
Ou Va La Jeune Hindoue? - Mady Mesple
L'Amour, L'Amour...Ah! Leve-Toi, Soleil - Alfredo Kraus
Allons! Le Faut...Adieu Notre Petite Table - Ileana Cotrubas
Toute Mon Ame Est La Pourquoi Me Reveiller - Nicolai Gedda
Quand La Flamme De L'Amour - Jose Van Dam
L'Amour Est Un Oiseau Rebelle - Victoria De Los Angeles
A Cette Voix...Je Crois Entendre Encore - Alain Vanzo
Une Puce Gentille - Gabriel Bacquier
Je Vais Mourir...Adieu, Fiere Cite - Regine Crespin
Mon Coeur S'Ouvre A Ta Voix - Rita Gorr
Wie Todesahnung...O Du Mein Holder Abenstern - Dietrich Fischer-Dieskau
Johohoe! Traft Ihr Das Schiff Im Meere An? - Anja Silja
In Fernem Land - Chor Der Wiener Staatsoper
Heil Dir, Sonne! - Siegfried Jerusalem
Mild Und Leise - Helga Dernesch

Tracks:

Che Faro Senza Euridice? - Agnes Baltsa
Der Vogelfanger Bin Ich Ja - Walter Berry
Finch'Han Dal Vino - Nicolai Ghiaurov
E Susanna Non Vien!...Dove Sono - Barbara Hendricks
Abscheulicher! - Christa Ludwig
Ne M'Abandonne Pas, Espoir De La Vengeance...Asile Hereditaire - Nicolai Gedda
Largo Al Factotum - Tito Gobbi
Ella Giammai M'Amo! - Ruggero Raimondi
La Donna E Mobile - Alfredo Kraus
Di Quella Pira - Franco Corelli
Esultate! - James McCracken
Dio! Mi Potevi Scagliar - Placido Domingo
Vissi D'Arte, Vissi D'Amore - Maria Callas
In Questa Reggia - Ghena Dimitrova
Tanto Amore - Janine Micheau
O Mio Babbino Caro - Montserrat Caballe
Ed Anche Beppe Amo - Luciano Pavarotti
Poveri Fiori - Maria Callas
Come Un Bel Di Di Maggio - Roberto Alagna

Tracks:

Les Grands Seigneurs...Ah! Je Ris De Me Voir Si Belle - Victoria De Los Angeles
Marie, Avec L'Enfant Jesus - Jules Bastin
Heureux Petit Berger - Janine Micheau
Connais-Tu Le Pays - Jane Rhodes
Elle Ne Croyait Pas Dans Sa Candeur - Nicolai Gedda
Votre Toast, Je Peux Vous Le Rendre...Toreador - Victoria De Los Angeles
Les Oiseaux Dans La Charmille - Mady Mesple
Maintenant, Chantons...Devant La Maison De Celui Qui D'Adore - Gerard Souzay
Depuis Le Jour - Beverly Sills
Da Geht Er Hin - Elisabeth Schwarzkopf
Einsam In Truben Tagen - Regine Crespin
Dich, Teure Halle - Hildegard Behrens
Leb Wohl, Du Kuhnes, Herrliches Kind - Dietrich Fischer-Dieskau
Hojotoho! Hojotoho! - Ute Walther

Tracks:

Non Piu Andrai - Thomas Allen
La Ci Darem La Mano - Graziella Sciutti
Duo: Pa-Pa-Pa - Andreas Schmidt
Soave Sia Il Vento - Delores Ziegler
Mira, O Norma - Maria Callas
Il Dolce Suono - Edita Gruberova
Com'e Gentil - Alfredo Kraus
Una Voce Poco Fa - Maria Callas
Libiamo Ne' Lieti Calici - Alfredo Kraus
Gualtier Malde!...Caro Nome - Michele Pertusi
Ritorna Vincitor - Birgit Nilsson
Ave Maria - Katia Ricciarelli
Nessun Dorma - Franco Corelli
Che Gelida Manina - Nicolai Gedda
Ebben? Ne Andro Lontana - Barbara Hendricks

Tracks:

Mes Amis, Ecoutez L'Histoire - Nicolai Gedda
Mieux Vaut Mourir...Amour Sacre De La Patrie - Alfredo Kraus
Ah! Je Veux Vivre Dans Ce Reve - Mady Mesple
Puisqu'on Ne Peut Flechir...Vainement, Ma Bien-Aimee - Henry Legay
Suis-Je Gentille Ainsi?...Je Marche Sur Tous Les Chemins - June Anderson
Belle Nuit, O Nuit D'Amour - Jessye Norman
La Fleur Que Tu M'Avais Jetee - Jose Carreras
C'est Toi!...Au Fond Du Temple Saint - John Aler
Werther, Werther, Qui M'Aurait Dit...Ces Lettres! - Tatiana Troyanos
Viens, Mallika - Mady Mesple
Ah! Je Suis Seule Enfin...Dis-Moi Que Je Suis Belle - Beverly Sills
Alerte, Alerte!...Anges Purs, Anges Radieux - Nicolai Ghiaurov
Boris's Farewell - Boris Christoff
Schreckensschwur! - Gary Lakes
Die 'Selige Morgentraum-Deutweise'...Selig, Wie Die Sonne - Peter Schreier
Was Am Besten er Kann...Nothung! Nothung! - Siegfried Jerusalem

Customer Reviews:

Superlative collection.......2006-10-11

A collection of 100 individual arias and ensembles from the EMI catalogue of complete works recorded between 1955 and 2003. It includes selections from operas by Italian, Austrian, German, Russian and French composers. The French composers are especially well represented unlike most such anthologies. And there are several more obscure contributions, such as an aria from Catalani's La Wally. A well-judged balance of musical periods and styles, and the very best singers of the last half of the last century. And remarkably, the whole collection of 6 CDS, over 7 hours of music, is being sold for the cost of only 1 CD !

Great value for the money.......2006-04-23

This is simply the best collection of opera arias that I have seen. It's not 100% in that there are a few well-known arias that are not here, but what is here is simply a treasure. The organization is a bit strange, but there's some logic. For example, Disk 6 is mostly from French operas. A seemingly endless amount of glorious music. Just fabulous. You won't be disappointed.

Great for the money and a good starter on opera...........2006-01-07

This cd is a splendid collection of songs, and the price is unbeatable; I have but a few minor complaints about the overall product. The cd would have been much more enjoyable if they had put the music in some sort of order, rather than jumping around from artist to artist sporatically. My only other complaint would be that they could have chosen some better vocalists to play some of the songs. For example, in CD 6, track 3: Romeo et Juliette, the singer was not nearly as strong and definative as she should have been and I've definately heard in various other versions that were way better than this. This disappointed me greatly. But even with these few small complaints, this collection is still great and the price is amazing. It includes MOST of the famous opera pieces, as well some great songs that are often overlooked such as the beautiful song from Wagner's Die Meistersinger von Nurnberg (CD 6, track 16) along with others.

Amazing Value.......2005-08-23

I am so impressed by this collection that I must share my joy at getting so many beautiful arias, duets, et al in one collection. It captures many of the great operatic voices in stellar performances spanning the last 50 years. If you are enchanted by beautiful operatic highlights, removed from their operatic storylines, this set is for you. Hours of gorgeous music for practically pennies!

Average customer rating:

100 Best Film Classics

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

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Best Classics 100 Volume 1
Best Classics 100 Volume 2
100 Best Piano Classics
100 Best Opera Classics
100 Best Baroque

ASIN: B000GPIPR4
Release Date: 2006-08-29

Tracks:

2001: A Space Odyssey: Also Sprach Zarathustra - Richard Strauss
Apocalypse Now: The Ride Of The Valkyries - Wagner
Amadeus: Requiem - Mozart
Titanic: My Heart Will Go On - James Horner
You Only Live Twice: Main Theme - John Barry
Star Wars: Main Theme - John Williams
Gladiator: Gladiator Theme - Zimmer
Gallipoli: Temple Duet - Bizet
The Godfather: Ill Intermezzo - Mascagni
The Lord Of The Rings: The Fllowship Of The Ring: The Fellowship - Howard Shore
Harry Potter And The Chamber Of Secrets: Fawks The Phoenix - John Williams
Saving Private Ryan: Hymn To The Fallen - John Williams
Mission Impossible: String Trio Divertimento - Mozart
Fantasia: The Sorcerer's Apprentice - Dukas
Braveheart: End Titles - James Horner

Tracks:

Somewhere In Time: Piano Concerto No.2 - Rachmaninov
Chariots Of Fire: Miserere - Allegri
The Deer Hunter: Cavatina - Stanley Myers
Platoon: Adagio For Strings - Barber
Death In Venice: Symphony No.5 - IV. Adagietto - Mahler
American Beauty: Any Other Name - Thomas Newman
E.T.: Main Theme - John Williams
Schindler's List: Main Theme - John Williams
The Mission: Gabriel's Oboe - Morricone
William Shakespeare's Romeo & Juliet: Symphony No.25 - Mozart
Jean De Florette: Main Theme - Verdi
Alien: Eine Kleine Nachtmusik - II. Romance - Mozart
Cinema Paradiso: Love Theme - Morricone
Eyes Wide Shut: Jazz Suite No.2 - Shostakovich
A Clockwork Orange: Ode To Joy - Beethoven

Tracks:

Ace Ventura: Pet Detective: Eine Kleine Nachtmusik - I. Allegro - Mozart
Out Of Africa: Clarinet Concerto - Mozart
Amadeus: Concerto For Two Pianos - Mozart
Sideways: Memories Of The Alhambra - Tarrega
The Joy Luck Club: Flute & Harp Concerto - Mozart
The Talented Mr. Ripley: Stabat Mater - Pergoleisi
Lorenzo's Oil: Ave Verum Corpus - Mozart
JFK: Horn Concerto No.2 - Mozart
Carrington: String Quintet - Schubert
Runaway Bride: Le Nozze Di Figaro - Overture - Mozart
Hilary And Jackie:: Cello Concerto - Elgar
The Living Daylights: Symphony No.40 - Mozart
Elizabeth: Nimrod - Elgar
Minority Report: 'Unfinished' Symphony - Schubert
There's Something About Mary: Eine Kliene Nachtmusik - IV. Rondo - Mozart
Billy Elliot: Swan Lake - Tchaikovsky
The Right Stuff: Jupiter - Holst

Tracks:

The Piano: The Heart Asks Pleasure First/The Promise - Michael Nyman
Elvira Madigan: Piano Concerto No.21 - Mozart
Face/Off: 'Raindrop' Prelude - Chopin
Amadeus: Piano Concerto No.20 - Mozart
Private Benjamin: Waltz In C-Sharp Minor - Chopin
The Truman Show: Rondo Alla Turca - Mozart
The Associate: Piano Concerto No.25 - Mozart
A Beautiful Mind: Piano Sonata No.11 In A - Mozart
Immortal Beloved: 'Moonlight' Sonata - Beethoven
The Pianist: Nocturne In C-Sharp Minor - Chopin
The Music Lovers: Piano Concerto No.1 - Tchaikovsky
What Lies Beneath: Gymnopedie No.1 - Satie
Paycheck: 'Minute' Waltz - Chopin
Rosemary's Baby: Fure Elise - Beethoven
The Truman Show: Piano Concerto No.1 - Chopin
Ocean's Eleven: Clair De Lune - DeBussy
Shine: Polonaise No.6 In A-Flat - Chopin

Tracks:

The Bridges Of Madison County: Casta Diva - Bellini
Captain Corelli's Madolin: La Donna E Mobile - Verdi
Closer: Soave Sia Il Vento - Mozart
Basquiat: D'amor Sull'ali Rosee - Verdi
Trading Places: Non Piu Andrai - Mozart
Copycat: Vissi D'arte - Puccini
My Left Foot: Un'aura Amorosa - Mozart
Miss Congeniality: Der Holle Rache - Mozart
Babette's Feast: La Ci Darem La Mano - Mozart
Philadelphia: La Mamma Morta - Giodano
Babette's Feast: La Ci Darem La Mano - Mozart
Heavenly Creatures: E Lucevan Le Stelle - Puccini
Callas Forever: Habanera - Bizet
Moonstruck: Che Gelida Manina - Puccini
Driving Miss Daisy: Song To The Moon - Dvorak
Diva: Ebben? Ne Andro Lontana - Catalani
Life Is Beautiful: Barcarolle - Offenbach
The Witches Of Eastwick: Nessun Dorma - Puccini

Tracks:

Four Weddings And A Funeral: The Arrival Of The Queen Of Sheba - Handel
The Aviator: Fugue In D Minor - J.S. Bach
The Madness Of King George: Zadok The Priest - Handel
Children Of A Lesser God: Double Violin Concerto - J.S. Bach
Someone To Watch Over Me: Gloria - Vivaldi
Truly, Madly, Deeply: Viola Da Gamba Sonata In G Minor - J.S. Bach
Gallipoli: Adagio - Albainoni
Kramer Vs. Kramer: Mandolin Concerto In C - Vivaldi
The Silence Of The Lambs: Goldberg Variations - J.S. Bach
Pirates Of The Caribbean: The Curse Of The Black Pearl: Concerto Grosso Op.6 No.12 - Handel
Runaway Bride: Air 'On The G String' - J.S. Bach
Ordinary People: Canon In D - Pachelbel
The Other Sister: Winter - Vivaldi
Meet The Parents: Jesu, Joy Of Man's Desiring - J.S. Bach
Barry Lyndon: Sarabande - Handel
Lara Croft: Tomb Raider: Keyboard Concerto No.5 In F Minor - J.S. Bach
Hannibal: Brandenburg Concerto No.3 In G - J.S. Bach
Bridget Jones's Diary: Hallelujah Chorus - Handel

Average customer rating:

Johann Strauss: Die Fledermaus

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B000KQGODG
Release Date: 2007-05-08

Richard Strauss - Capriccio / Schwarzkopf, Wächter, Gedda, Fischer-Dieskau, Hotter, Ludwig, Moffo, Philharmonia Orchestra, Sawallisch

Average customer rating:

Peerless Recording of a Sublime Work of Art
Sublime Strauss
An acquired taste.
A world treasure
A perfect polemic on art

Richard Strauss - Capriccio / Schwarzkopf, Wächter, Gedda, Fischer-Dieskau, Hotter, Ludwig, Moffo, Philharmonia Orchestra, Sawallisch
Richard Strauss , Wolfgang Sawallisch , Elisabeth Schwarzkopf , Nicolai Gedda , Dietrich Fischer-Dieskau , Hans Hotter , Christa Ludwig , Rudolf Christ , Anna Moffo , Dermot Troy , and Eberhard Wächter
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Lady Macbeth of Mtsensk
Great Recordings Of The Century - Elisabeth Schwarzkopf Sings Operetta / Ackermann

ASIN: B00004VVZO
Release Date: 2000-08-15

Tracks:

Einleitung
Scene One: Bezaubernd Ist Sie Heute Wieder!
Scene One: Bei Sanfter Musik Schlaft Sich's Am Besten
Scene One: Eine Schone Heroine Hast Auch Du Nicht Verschmaht
Scene Two: Der Strom Der Tone Trug Mich Fort
Scene Three: Die Buhne Ist Fertig, Wir Konnen Beginnen
Scene Three: Da Ist Sie! Ich Eile, Sie Zu Begrussen/Scene Four: Sie Ist Doch Gekommen! Du Hast Es...
Scene Four: Deklamation: Ihr Geht. Entliess Euch Schon Die Macht
Scene Four: Sonett (Gesprochen): Kein Andres, Das Mir So Im Herzen Loht/Bravo, Bravo! Sie Sind...
Scene Four: Ein Philosoph Schreitet Seiner Bekehrung Entgegen?/Sonett (Gesprochen): Kein Andres...
Scene Five: Lassen Sie Ihn Gewahren
Scene Six: Sonett: Kein Andres, Das Mir So Im Herzen Loht
Scene Six: Trio: Des Dichters Worte, Wie Leuchten Sie Klar!
Scene Six: Wie Schon Die Worte... Verzeiht Mir, Frau Grafin, Ich Muss Ihn Entfuhren
Scene Seven: Verraten Hab' Ich Meine Gefuhle!
Scene Seven: Diese Liebe, Plotzlich Geboren An Jenem Nachmittag
Scene Seven: Allegro Moderato/Wie Werden Die Schokolade Hier
Scene Eight: Welch Kostliche Begegnung!
Scene Nine: Wir Kehren Zuruck In Die Welt Des Salons
Scene Nine: I. Tanz (Passepied)/Was Sagt Ihr!
Scene Nine: II. Tanz (Gigue)/Ich Bin Fest Entschlossen
Scene Nine: III. Tanz (Gavotte)

Tracks:

Scene Nine: Eure Kunst Entzuckt Und Begeistert Mich
Scene Nine: Fuge (Diskussion Uber Das Thema: Wort Oder Ton): Tanz Und Musik Stehn Im Bann Des...
Scene Nine: Das Sagt Ihr Jetzt, In Dem Augenblick
Scene Nine: Duett: Addio, Mia Vita, Addio
Scene Nine: Darf Ich Sie Nach Paris Zuruckbringen
Scene Nine: Werden Ihre Neapolitaner
Scene Nine: Oct (Erster Teil - Lachensemble): Ein Possierlicher Einfall!
Scene Nine: Sie Sehn Uns Uberrascht Von Ihrer Fant
Scene Nine: Oct (Zweiter Teil - Streitensemble): Aber So Hort Doch!
Scene Nine: Hola! Ihr Streiter In Apoll!
Scene Nine: Ich Diene Den Ew'gen Gesetzen Des Theaters
Scene Nine: Heute Im Zenith Meiner Ruhmreichen Laufbahn... La Roche, Du Bist Gross!
Scene Nine: Ich Hortet Die Mahnende Stimme Unsres Freundes!
Scene Nine: Qt: Was Hebt Sich Gottergleich Aus Hohem Ather?/Das Ist Mehr Als Eine Versohnung
Scene Nine: Nun Gleich An Die Arbeit
Scene Nine: Ich Wusste Ein Ausserst Fesselndes Thema!
Scene Nine: Der Einfall Ist Kostlich
Scene Ten: Gut In Eure Mantel Gehullt
Scene Eleven: Das War Ein Schoner Larm
Scene Twelve: Herr Direktor! Herr Direktor!
Closing Scene: Andante Con Moto
Closing Scene: Wo Ist Mein Bruder?
Closing Scene: Morgen Mittag Um Elf!
Closing Scene: Sonett: Kein Andres, Das Mir So Im Herzen Loht
Closing Scene: Ihre Liebe Schlagt Mir Entgegen
Closing Scene: Wahlst Du Den Einen - Verlierst Du Den Andern!
Closing Scene: Du Spiegelbild Der Verliebten Madeleine
Closing Scene: Frau Grafin, Das Souper Ist Serviert

Amazon.com

Strauss's last opera is one of the wonders of lyric art: an intelligent conversation piece about aesthetic principles (which is more important, words or music?) wrapped in achingly beautiful music. Its humor and drama are subtler than we're used to, but the opera is no less pleasurable for it. Capriccio's reputation as a connoisseur's piece is well served by this 1957 recording that features a superb cast led by the distinguished Straussian Elisabeth Schwarzkopf. True, she could be mannered, but the role of the Countess who must decide between the poet and the musician fits her like a glove, and she's radiant in the final, soaring monologue. Everyone else in the cast is outstanding, and the monophonic sound is so clear that you almost won't miss stereo. Sawallisch has the Philharmonia playing with the utmost transparency. Karl Böhm's DG stereophonic version with Gundula Janowitz is almost as fine (although currently out of print), but this one, like vintage wine, just gets better and better. --Dan Davis

Customer Reviews:

Peerless Recording of a Sublime Work of Art.......2007-05-14

Repeated evocation of the word "perfect" in descriptions of this recording convinced me to buy it, and even in the midst of such lofty praise, I was not disappointed. To the contrary; Capriccio is amongst the most incisive and beautiful operas ever crafted, combining the intelligence and perspicacity of a truly outstanding libretto with all the beauty and sublimity of which the mature Strauss was capable. It is an opera for opera lovers, a piece of musical virtuosity that not only delights the listener, but brings to light the question of the nature of art, the source of the profundity found in music and verse; it is an opera about the nature of opera, and art itself. Perhaps appropriately for an opera examining the ideals of the artistic form, the cast and production are here utterly flawless; Elizabeth Schwarzkopf gives as nuanced and breathtaking an interpretation of Strauss as only she could, and there isn't a single element in the performance that comes across as weak. Given the fact that in Capriccio, it is an intelligent and often hilariously mordant discourse on art that attains primacy rather than overarching drama or passion, it is admittedly not an opera for everyone. For those who truly love opera and art, those who are looking for something a bit different and more philosophic than typical operatic passion, despair, and suicide, those who are looking for the perfectly produced version of the perfectly crafted opera--one cannot do any better than this version of Capriccio. Buy it and enjoy the pinnacle of truly brilliant music.

Sublime Strauss.......2007-05-07

Capriccio, one of the finest achievements of Richard Strauss' late flowering, is served well in this definitive recording. An impressive array of top quality singers is supported magnificantly by the spirited conducting of Wolfgang Sawallisch.

While the mono recording might be detrimental in the case of a larger scale work, in this intimate conversation piece its absence is hardly noticible. This re-issue is a welcome reminder of just how good Walter Legge's series of opera recordings by his Philharmonia Orchestra in the 1950s were; it is part of a valuable legacy, the like of which we are unlikely ever to receive again from a major record label.

An acquired taste........2007-05-07

Richard Strauss -- like really great scotch -- is an acquired taste.

This is Glen Livit level. (Not sure I spelled that brand name correctly.)

A world treasure.......2005-09-20

This kind of opera is the most rarified of the arts. It is a treasure for all the world, but it takes some effort to come to terms with it. Tastes more used to popular arts will likely not at first be able to appreciate the tremendous richness of this work. After all, there is no hero, no love story beyond some minor flirtations, and certainly no dramatic action to excite the passions. So, what is this work and why is it so wonderfully important?

This was the last opera of Richard Strauss and it is in every sense a masterwork. The composer set himself a terribly difficult task. Here we have Flamand, a composer, and Olivier, a poet who engage in a sometimes intellectual and sometimes petty discussion of which of their arts is primary. They are both enamored of the Countess who is a patron of the arts, used to being admired, and is not quick to reveal herself. Her brother, the Count, is interested in female talent and his acting is pedestrian, but he is complemented because of his position. There is also the director of their theater, La Rouche. He starts the opera asleep, but becomes quite agitated by the ongoing debate and declares that without his art, the other two would be meaningless.

There is so much in this opera that this little paragraph can only set up all the wonderful insights that Strauss provides. Serious opera is all sung? We get spoken drama (so Olivier can make his point). There are musical comments as well on the words spoken. Brief quotes of various styles emphasize this or that point as well as undermine others. It gets to the point that towards the end, the main characters have all left the stage and eight servants appear. One comments about all the pointless discussion. Another asks whether opera will get to the point where domestics will be put on stage.

The music in this opera is like a slow continuous crescendo of sophistication and intensity. Amazing things are happening when the texture becomes its most complex including the eating of cake, the drinking of wine, discussion of the ongoing themes of the opera, and commentary on the whole scene. It is all so masterfully handled that it provides musically stunning effects and clarifies the points being discussed in the opera with great sophistication.

The final extended aria by the Countess is exquisite beyond measure and sung transcendently by Elizabeth Schwarzkopf. She is asked to think of an end for their opera. She asks if there is one that is not trivial. The opera ends, so beautifully, with the major domo calling the Countess, saying, "Your Ladyship, supper is served." Perfect. And thus Strauss ended a mighty career in writing fifteen operas.

This recording was done in 1959 and is in mono. While stereo was available, squabbling among the performers about who would be where led to using mono to settle the matter. It still sounds terrific. The booklet provided is very helpful as is the provided libretto.

Some believe that this opera should be performed in a small hall in the language of the audience. I am not so sure. The sophistication of the underlay would be lost. Nowadays, most opera halls use supertitles and they help everyone understand the opera while retaining the beauty of expression in the original language.

A perfect polemic on art.......2004-09-25

There have been a handful of perfect Opera recordings over the years. Perfection, of course, is a subjective judgement that can, if ill-used, incite violence. Particularly among Opera fans. Naturally, an Opera review that doesn't initiate gunplay is a good thing.

I mention it because I offer this 1957 recording of Capriccio as an example, extremely rare in the history of recorded Opera, of a perfect recording - a Reference recording, one of perhaps two dozen. Its status as a Reference recording is not controversial among serious record collectors. It assumed that mantle almost immediately after its release in 1959. But perfect? Nothing in Life is perfect!

True. But Art is NOT Life. Thankfully, what we find so disappointing, even tragic, in Life can be transmuted into perfection when Art achieves its most exalted fruition in the hands of those with a burning desire for self-expression and the unique means to do so. A tad pretentious? Maybe. But it so happens that Art is what this 1941 Opera - the last Strauss would write - is about. Art as Alchemy. The transformation of what is base and mundane into something meaningful and gloriously eternal. Something perfect! And almost as if on que, Wolfgang Sawallisch and his stunning, impossible to ever replicate cast along with perhaps the greatest house band of the era, recorded an Opera about Artistic perfection... perfectly!

Nominally, this polemic written by Clemens Krauss offers a debate between Words and Music; each claiming supremacy in the Operatic Art. The Opera begins with a lovely string sextet played by the Orchestra: the beauty of the unaccompanied music making a strong case for its primacy. The Opera ends with the words of a sonnet, and a questioning gaze into a mirror by a Countess one cannot help but compare to two others inhabiting Der Rosenkavalier and Le Nozze di Figaro. Everywhere there is the struggle between the temporal and the eternal. It is this final scene with its suggestion of verbal temporality that ignited my suspicion that Strauss comes down on the side of Music as the eternal face of Operatic Art, the winner in the debate. You may not agree. This rich suggestiveness is just one of the reasons why Capriccio, alone among Struass' late Operas, is winning wide-spread acceptance into the repertory.

Sawallisch, merely 34 at the time of recording, exhibits exquisite taste in his textural delicacy. Tempos are broad yet firm. His time-beating clear, uncomplicated and comparable to the great Knappertsbusch. Instrumental and Vocal balances are exceptionally clear. His Orchestra, the Philharmonia, was possibly the best recording band of the 1950's and early 1960's. Incidentally, the superb Horn solos are NOT played by Dennis Brain, cruelly killed in an auto accident the day before recording commenced, but Alan Civil (Horn Soloist on the Beatles' "For No One" found on their 1966 album Revolver).

Elizabeth Schwarzkopf is superb as the Countess Madeleine, emotionally reserved without hauteur. Her voice had a clarion richness at the time. Lyrical, round yet soft, without the hint of shrillness one detects in later recordings. Eberhard Wachter is a terrific Count, a rough, unmusical womanizer. Nicolai Gedda is the Composer Flamand. A youngish Dietrich Fischer-Dieskau is Olivier the Poet, Flamand's verbal nemesis. Hans Hotter is suitably officious as La Roche, the Theatre Director, a parody of the famous Director Max Reinhardt with whom Clemens Krauss had worked in Vienna and Salzburg. Christa Ludwig is wonderful, as always, as Clairon, an Actress. Anna Moffo has a cameo as "an Italian Singer". This is a cast of which dreams are made! It cannot, will not ever be duplicated! The recording itself is subtext to the Opera. Perfection comes only rarely, if at all.

The 1957-58 recording, produced by the great Walter Legge, is in a warm, full and rich Mono. Yet Stereo recordings were available since 1953. Many (including me) have bemoaned the lack of a Stereo version of this once-in-a-lifetime production. Why was this recording not released in the newer and (allegedly) superior Stereophonic format? In previous reviews I have alluded to Legge's dislike for Stereo. Much (if not all - rumors abound) of this Opera was indeed recorded in Stereo. When "balance" issues (read that EGO) arose between several of the male leads, a Draconian "compromise" was reached, much to Legge's not-so-secret pleasure, in which it was decided to proceed in Mono and the existing Stereo tapes were destroyed. That must have been some squabble!

So this magnificent version of Capriccio is only available in a Mono format. Lately, however, I have stopped my whining about this and come to feel that Mono heightens the Chamber Music feel of the Opera. That it narrows the soundfield whilst simultaneously increasing its intimacy. In other words, it improves the overall experience. The sound is so good, the recording so well produced that the issue is moot. This is a recording you MUST have in your collection. It is one of those benchmark recordings by which all others are judged. You will hear what Humans can do when at their very best. You will sample perfection and the vision of the eternal that is the gift of all true Art.

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