Der Rosenkavalier (Abridged)

On this CD:

1. Der Rosenkavalier, opera, Op. 59
Composed by Richard Strauss
Performed by Vienna Philharmonic Orchestra with Karl Ettl, Lotte Lehmann, Richard Mayr, Aenne Michalsky, Maria Olszewska, Bella Paalen, Elisabeth Schumann, Hermann Galos, Viktor Madin, William Wergnick
Conducted by Robert Heger

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.

Average customer rating:

Andrea Bocelli - Sogno
Not bad!
pleasure to lilsten
Bocelli - Aria
Why...?

Andrea Bocelli - The Opera Album ~ Aria

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Romanza
Andrea Bocelli - Sacred Arias / Myung-Whun Chung
Cieli di Toscana
Andrea Bocelli: Verdi
Andrea Bocelli - Amore

ASIN: B0000069CO
Release Date: 1998-04-07

Tracks:

Rigoletto: Questa o quella
La Boheme: Che gelida manina
TOSCA: Recondita armonia
TOSCA: E lucevan le stelle
Madama Butterfly: Addio, fiorito asil
Andrea Chenier: Come un bel di di maggio
I Puritani: A te, o cara
Der Rosenkavalier: Di rigori armato il seno
Fedora: Amor ti vieta
La Fanciulla del West: Ch'ella mi creda
La Gioconda: Cielo e mar!
Adriana Lecouvreur: La dolcissima effigie
La Boheme: Musetta! - Testa adorata
Lucia di Lammermoor: Tombe degli avi miei - Fra poco a me ricovero
Werther: Pourquoi me reveiller
Carmen: La fleur que tu m'avais jetee
La Fille Du Regiment: Pour mon ame

Amazon.com

Andre Bocelli is no opera singer, but he shows far more potential in this album than does another pop-vocalist tenor-wannabe, Michael Bolton. For one thing, he can shake off the crooner mannerisms and really sing when performing music that calls for it. At his best, he has a rich, dark timbre and an easy, unforced top. At other times, however, the tone turns dry and thin and the high notes are constricted, the inconsistency suggesting a lack of technique. Never does one get the impression that he could be heard over a medium-sized orchestra without amplification. This isn't bad singing per se, but there is much better out there, readily available on disc. --Sarah Bryan Miller

Album Description

Exclusive Australian Gold pressing released to coincide with his first public appearance in Australia. He'll be performing at the opening ceremonies and then onto to tour the land down under. His back catalogue will be released & re-packaged in slipcases with his signature on them as well as all of them pressed on gold plated CD's. This pressing includes 17 tracks, all sung in his native Italian Tongue. 1998 release. Standard jewel case.

Customer Reviews:

Andrea Bocelli - Sogno.......2007-06-27

I am 45 years old. The reason why this is something I am mentioning, is to let all of you reading my review know what age group I am in. It might be important to the age you are in knowing what I have to say. I have four Andrea Bocelli CD's and they are all wonderful. I love each of them. My mom turned me on to him, and, since I love Josh Groban, I decided to listen to Andrea Bocelli and see what all her fuss over him was about. I'm glad I did. I am half Italian and half Spanish. I don't know either language, but when I listen to both Andrea and Josh, I don't have to. They make the music tell a story, and instantly, you understand something about the words from just the sound of their voices. If you love Josh Groban, then Andrea Bocelli is someone you should give a listen to. His voice is soothing, powerful, and romantic. I am looking forward to getting more of his CD's. Great Stuff!!!

Not bad!.......2007-04-09

What I have heard about Andrea Bocelli is bimodal--some think that he is not up to the operatic repertoire and is way overrated; others see him as a fine singer, from a nontraditional background and career path. What I hear on this CD is fine singing, with some limitations. He was once a law school student; he played in piano bars. He took lessons from the great Franco Corelli. Some examples of his work illustrate his skills:

"Questa O quella" is a nice romp. His smooth voice moves through this aria nicely. His voice is not a big one. On the other hand, his musicianship seems fine (thank goodness none of the sobbing and catches that some tenors adopt).

In Puccini's "Che gelida manina" (from "La Boheme"), he again sings smoothly. He has a nice sound to his voice. The high note is a bit thin, but certainly not as bad as some critics would have it. A serviceable version, in short.

Then, the twin arias from "Tosca"--"Recondita armonia" and "E lucevan le stelle." Both are well sung. His version of "Recondita armonia" compares well with other versions. He certainly has no reason to hang his head. When he amps up the volume, his voice is not quite as rich as many other tenors, bit it is still fine. Top notes, as observed before, are a bit thin, but--again--hardly reason for lamentation. This is nicely sung. My notes for "E lucevan le stelle" simply say "Ibid." That is, one could write a very similar set of comments.

The last piece is from a different tradition--a selection from Donizetti's "Lucia di Lammermoor," "Tome degli avi miei." Smoothly sung. A bit thin on higher notes. Overall, though, a nice job.

As I listen to his work, I think that Bocelli does a good job in the standard tenor repertoire. Is he a great tenor? No. Is he a good tenor? Yes.

pleasure to lilsten.......2007-01-19

This album is a pleasure. The selections are spirited and well executed. I was very satisfied with this purchse and would recommend it to any one who enjoys opera.

Bocelli - Aria.......2006-11-05

Introduced me to arias that were not known to me, and I find to be
quite beautiful. As usual, Bocelli does not fail.

Why...?.......2006-03-13

Why is there all this continuing controversy after so many years about whether or not Andrea Bocelli is - or is not - Operatically sound? All I know (and that's not saying much for me in this genre), is that after having listened to Amazon.com's sampling of the music on this Audio CD a few moments ago, I wept. Andrea Bocelli always makes me weep - because of his profound spiritual depth. And I don't care what anyone thinks on that issue. All I do know is this. The man sings from his soul...and nothing could surpass that - ever.

Strauss - Der Rosenkavalier / Schwarzkopf · Ludwig · Karajan

Average customer rating:

Waltz me around again
Discovering Strauss
The Ochs is stayed before it tramples the rosegarden
ROSES AND RAPTURES
Five stars, but not for Karajan

Strauss - Der Rosenkavalier / Schwarzkopf · Ludwig · Karajan
Richard Strauss , Herbert von Karajan , Elisabeth Schwarzkopf , Christa Ludwig , Anny Felbermayer , Karl Friedrich , Nicolai Gedda , Paul Kuen , Otto Edelmann , Erich Majkut , Kerstin Meyer , and Franz Bierbach
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Richard Strauss - Capriccio / Schwarzkopf, Wächter, Gedda, Fischer-Dieskau, Hotter, Ludwig, Moffo, Philharmonia Orchestra, Sawallisch
R. Strauss - Ariadne auf Naxos / Schwarzkopf · Seefried · Streich · Schock · Prey · PO · Karajan
Beethoven: Fidelio
Verdi - Falstaff / Gobbi · Schwarzkopf · Moffo · Karajan
J. Strauss: Die Fledermaus / Schwarzkopf, Gedda, Streich, Krebs, Kunz, Christ; Karajan

ASIN: B00005NW0B
Release Date: 2001-09-11

Tracks:

Act One: Intro - Philharmonia Orch/Herbert Von Karajan
Act One: Wie Du Warst! Wie Du Bist! - Christa Edelmann/Elisabeth Schwarzkopf
Act One: Lachst Du Mich Aus? ...Lach' Ich Dich Aus? - Christa Edelmann/Elisabeth Schwarzkopf
Act One: Der Feldmarschall Sitzt Im Krowatischen Wald - Christa Edelmann/Elisabeth Schwarzkopf
Act One: Quinquin, Es Ist Ein Besuch - Elisabeth Schwarzkopf/Erich Mjkut/Gerhard Unger/Otto Edelmann/Christa Ludwig
Act One: Selbstverstandlich Empfangt Mich Ihro Gnaden - Otto Edelmann/Gerhard Unger/Erich Majkut/Eberhard Wachter/Harald Proglhof
Act One: Euer Gnaden Werden Vielleicht Verwundert Sein - Otto Edelmann/Elisabeth Schwarzkopf
Act One: Dann Ziehen Wir Ins Palais Von Faninal - Otto Edelmann/Elisabeth Schwarzkopf/Erich Majkut/Gerhard Unger
Act One: Hat Sie Schon Einmal Mit Einem Kavalier - Otto Edelmann/Christa Ludwig/Elisabeth Schwarzkopf
Act One: Geben Mir Euer Gnaden Den Grasaff' Da - Otto Edelmann/Christa Ludwig/Elisabeth Schwarzkopf
Act One: I Komm' Glei'... Drei Arme, Adelige Waisen - Christa Ludwig/Elisabeth Schwarzkopf/Christa Ludwig/Kerstin Meyer/Anny Felbermayer/Gerhard Unger...
Act One: Di Rigori Armato Il Seno - Nicolai Gedda
Act One: Als Morgengabe, Ganz Separatim Jedoch - Otto Edelmann/Harald Proglhof/Nicolai Gedda
Act One: Mein Lieber Hippolyte - Elisabeth Schwarzkopf/Kerstin Meyer/Christa Ludwig/Kerstin Meyer
Act One: Da Geht Er Hin, Der Aufgeblasene Schlechte Kerl - Elisabeth Schwarzkopf
Act One: Ach, Du Bist Wieder Da? - Elisabeth Schwarzkopf/Eberhard Wachter
Act One: Oh, Sei Er Gut, Quinquin - Elisabeth Schwarzkopf/Eberhard Wachter
Act One: Die Zeit Im Grunde, Quinquin - Elisabeth Schwarzkopf
Act One: Mein Schoner Schatz - Christa Ludwig/Elisabeth Schwarzkopf
Act One: Quinquin, Er Soll Jetzt Geh'n - Christa Ludwig/Elisabeth Schwarzkopf
Act One: Ich Hab' Ihn Nicht Einmal Gekusst! - Elisabeth Schwarzkopf/Gerhard Unger/Erich Majkut/Eberhard Wachter/Harald Proglhof

Tracks:

Act Two: Ein Ernster Tag, Ein Grosser Tag - Eberhard Wachter/Ljuba Welitsch/Erich Majkut/Gerhard Unger
Act Two: In Dieser Feierlichen Stunde Der Prufung - Teresa Stich-Randall/Ljuba Welitsch
Act Two: Mir Ist Die Ehre Widerfahren - Eberhard Wachter/Teresa Stich-Randall
Act Two: Hat Einen Starken Geruch Wie Rosen - Eberhard Wachter/Teresa Stich-Randall
Act Two: Wo War Ich Schon Einmal Und War So Selig? - Eberhard Wachter/Teresa Stich-Randall
Act Two: Ich Kenn' Ihn Doch Recht Wohl - Eberhard Wachter/Teresa Stich-Randall
Act Two: Jetzt Aber Kommt Mein Herr Zukunftiger - Teresa Stich-Randall/Eberhard Wachter/Otto Edelmann/Christa Ludwig
Act Two: Belieben Jetzt VVielleicht... Ist Ein Alter Tokaier - Teresa Stich-Randall/Eberhard Wachter/Otto Edelmann/Christa Ludwig
Act Two: Mocht' Wissen, Was Ihm Dunkt Von Mir Und Ihm - Teresa Stich-Randall/Eberhard Wachter/Otto Edelmann/Christa Ludwig
Act Two: Wird Sie Das Mannsbild Da Heiraten - Otto Edelmann/Christa Ludwig/Teresa Stich-Randall/Eberhard Wachter/Erich Majkut/Gerhard Unger
Act Two: Mit Ihren Augen Voll Tranen - Christa Ludwig/Teresa Stich-Randall
Act Two: Herr Baron Von Lerchenau! - Kerstin Meyer/Paul Kuen/Otto Edelmann/Teresa Stich-Randall/Christa Ludwig
Act Two: Ich Hoff', Er Kommt Vielmehr Jetzt Mit Mir Hinters Haus - Christa Ludwig/Otto Edelmann/Teresa Stich-Randall/Kerstin Meyer/Eberhard Wachter
Act Two: Er Muss Mich Pardonieren - Christa Ludwig/Eberhard Wachter/Teresa Stich-Randall
Act Two: Heirat' Den Herrn Dort Nicht Lebendig Und Nicht Tot! - Teresa Stich-Randall/Eberhard Wachter/Christa Ludwig/Ljuba Welitsch
Act Two: Da Lieg' Ich! - Otto Edelmann
Act Two: Und Doch, Muss Lachen, Wie Sich So Ein Luder - Otto Edelmann
Act Two: Ohne Mich, Ohne Mich Jeder Tag Dir Zu Bang - Otto Edelmann/Kerstin Meyer
Act Two: Ganz Zu Befehl, Herr Kavalier - Otto Edelmann/Kerstin Meyer

Tracks:

Act Three: Intro - Philharmonia Orch/Herbert Von Karajan
Act Three: Pantomime - Philharmonia Orch/Herbert Von Karajan
Act Three: Hab'n Euer Gnaden Noch Witre Befehle? - Karl Friedrich/Erich Majkut/Gerhard Unger/Eberhard Wachter/Franz Bierbach
Act Three: Nein, Nein, Nein, Nein! I Trink' Kein Wein - Christa Ludwig/Otto Edelmann
Act Three: Die Schone Musi! - Christa Ludwig/Otto Edelmann
Act Three: Macht Sie Der Wein Leicht Immer So? - Otto Edelmann
Act Three: Er Ist Es! Es Ist Mein Mann! - Kerstin Meyer/Otto Edelmann/Christa Ludwig/Karl Friedrich/Erich Majkut/Gerhard Unger...
Act Three: Halt! Keiner Ruhrt Sich! - Franz Bierbach/Paul Kuen/Christa Ludwig/Otto Edelmann/Karl Friedrich
Act Three: Zur Stelle! Was Wird Von Mir Gewunscht? - Eberhard Wachter/Otto Edelmann/Franz Bierbach
Act Three: Die Braut! Oh Was Fur Ein Skandal! - Children's Chor From Loughton High School For Girls And Bancroft's School/Philharmonia Cho...
Act Three: Sind Desto Eher Im Klaren! - Otto Edelmann/Fraz Bierbach/Christa Ludwig/Karl Friedrich
Act Three: Bin Glucklich Uber Massen - Otto Edelmann/Christa Ludwig/Franz Bierbach/Elisabeth Schwarzkopf/Teresa Stich-Randall
Act Three: Er Sieht, Herr Kommissar, Das Ganze War Halt Eine Farce - Elisabeth Schwarzkopf/Franz Bierbach/Teresa Stich-Randall/Otto Edelmann/Christa Ludwig
Act Three: Bin Von So Viel Finesse Charmiert - Otto Edelmann/Elisabeth Schwarzkopf/Teresa Stich-Randall
Act Three: Leupold, Wir Geh'n! - Otto Edelmann/Kerstin Meyer/Erich Majkut/Gerhard Unger/Eberhard Wachter/Franz Bierbach
Act Three: Mein Gott, Es War Nicht Mehr Als Eine Farce - Teresa Stich-Randall/Christa Ludwig/Elisabeth Schwarzkopf
Act Three: Heut Oder Morgen Oder Den Ubernachsten Tag - Teresa Stich-Randall/Christa Ludwig/Elisabeth Schwarzkopf
Act Three: So Schnell Hat Sie Ihn Gar So Lieb? - Teresa Stich-Randall/Christa Ludwig/Elisabeth Schwarzkopf
Act Three: Marie Theres'!... Hab' Mir's Gelobt - Teresa Stich-Randall/Christa Ludwig/Elisabeth Schwarzkopf
Act Three: Ist Ein Traum, Kann Nicht Wirklich Sein... Spur' Nur Dich Allein - Teresa Stich-Randall/Christa Ludwig
Act Three: Sind Halt Aso, Die Jungen Leut'! - Eberhard Wachter/Elisabeth Schwarzkopf
Act Three: Ist Ein Traum, Kann Nicht Wirklich Sein... Spur' Nur Dich Allein - Teresa Stich-Randall/Christa Ludwig

Customer Reviews:

Waltz me around again.......2007-05-07

OK, Der Rosenkavalier opera is a smidgeon kinky. But the music is ethereal. One of the most hauntingly beautiful waltzes ever written. This music was sung (with words by Hollywood lyricist Earl Brent) by the fetching Jeanette Mac Donald in the movie "Three Daring Daughters."

Listen to the waltz music a few times and you can't get it out of your head. Nor do you want to.

Discovering Strauss.......2007-03-08

I've just started listening to Strauss's Operas. I found "Elektra" exhausting but breathtaking. This work is definitely more lyrical and less loud, took some getting used to after Elektra, I half expected a huge orchestra to take over and blast everyone offstage but that never happened.
I find some of the "comedy" a little tedious but parts of it are exquisite.
I love Schwarzkopf's rendition of the " monologue", she conveys so much emotion and brings this character to life perfectly. Brava!!
And I think I've listened to "Presentation...Rose" about a 1000 times already. Ear candy if there ever was.
I think the story is intriguing and addictive.
Love Christa Ludwig's Octavion, wow! (I like von Otter too)

The Ochs is stayed before it tramples the rosegarden.......2006-12-13

Richard Strauss humbly announced this opera as some kind of musical comedy. And we must say that the theme and the action are nothing more than a good old bourgeois comedy if not a vaudeville. But it is charming in a way. A page and confindent, Octavian, is the centre of the comedy. In love with and loved by his mistress, the Feldmarshallin, he is used, disguised as a chambermaid, which is easy since he is impersonated by a mezzosoprano, to titillate and also highjack onto a false trail the gross, philandering and greedy Baron Ochs, the well named Baron Ochs, both bovine and sterile. But this same Octavian will become the Rosenkavalier sent by the Feldmarshallin in the name of Baron Ochs to the young daughter Sophie of the very rich Herr von Faninal to propose the very badly matched wedding of the aforesaid Baron Ochs with the very reluctant Sophie who in the meantime falls in love with the charming Rosenkavalier who does the same in return. And it will all end well because Baron Ochs will be trapped in an inn and his multiple marriages will be exposed, thus accusing him of at least bigamy, which will make him run away. A comedy, nothing but a comedy revealing how money is no guarantee against the immorality of feudal practices. In fact it may even make them worse. Luckily love is there to clean up the plate and make things right. So what made this musical comedy of sorts such a success as an opera for one full century ? We may wonder, and yet the answer is simple. The very first reason is the depicting and staging of the feudal Germanic society of Maria Theresias in the middle of the 18th century when Europe is agitated by the Enlightenment, when Germany is already feeling the growing Sturm und Drang that is pushing feudal practices aside and replacing them with new ethics. And Richard Strauss keeps some cute nostalgic customs, like the Rosenkavalier, some kind of go-between of old, and highjacks them to vindicate love in the place and state of feudal arrangements and monetary greed and vanity. In other words it is quaint and it enables the Germans to forget about the looming up first world war that will be coming soon after the opera was created in Vienna on April 8, 1911. And it will become classic since it depicts the Germans as highly light, moral, humane, lovable, the very antithesis of what will develop and triumph to finally fall down ignominously from the 1920s to 1945. An acceptable and charming image of these our friends the Germans, the Austrians. In other words the light side that can counterbalance the very austere wagnerian side, especially when read in a nationalistic direction or distortion, the light side of Mozart's operas, and first of all Figaro's Wedding, to which it is akin by the theme and treatment. But that is not enough, far from it, to explain the phenomenal success of this opera. The music is of course the main reason. And what a music ! First of all, to clear the way for the rest, I will regret the only thing I find kind of easy. Octavian should have a masculine voice and be an alto instead of a feminine mezzosoprano. It makes his role unclearly ambiguous. We should have a page disguising as a chambermaid and then becoming the Rosenkavalier. Instead we have a mezzosoprano disguising as a page, then disguising as a chambermaid, then disguising as a Rosenkavalier and then mimicking love for Sophie. But the music is a lot more than that. The music is systematically anachronic for the 18th century, but who cares in the 20th century, and what's more today in the 21st century. It is light, dancelike and waltzy all the time and all along, from the light whirling and whorling mozartlike tunes everywhere to the real waltzes in the best straussian Viennese tradition. But Strauss also borrows some more exotic and entertaining forms with Italian singers and some popular tunes here and there, or at least tunes that sound as if they were coming out of some public house. But the best achievement of this music is its very high degree of dramatic construction. The music is used to give each character his or her personal depth, and each situation, each scene and each moment in each scene, their flavour and taste, their discursive value. That is probably the most attractive charm of this opera. We can literally let the music flow and forget about the words, the voices being a set of human instruments that join their harmonics to those of the orchestra to tell us a story that is displayed in front of our eyes through the circumvolutions of the measures that mesmerize our ears, due not to too many notes, nor too many instruments, but quite a few nevertheless if not many, just like a meadow scattered with thousands of colourful flowers.

Dr Jacques COULARDEAU, University Paris Dauphine & University Paris 1 Panthéon Sorbonne

ROSES AND RAPTURES.......2006-10-02

Elisabeth Schwarzkopf has recently departed our society after a long and illustrious career, and no admirer of her work should be without one of her finest and most celebrated monuments. This Rosenkavalier still stands comparison with any other that I know, but its significance is over and above its merits purely as a performance and recording.

What we have here is a memorial to two epochs. One epoch is the world that was heading for destruction in the wars of the 20th century. Part of that world was the society of the idle rich, the gilded butterflies with their servants and silver roses, a kind of Wellsian Eloi marking time until the advent of their own Morlocks in 1914 and 1917. By the date of this performance in 1956 the world had had enough nemesis and catharsis to be going on with, and was trying to retrieve something of what had been lost while re-establishing itself in a new form. The technology of musical recording had made enormous advances, the discerning musical public was ready for some added spice to the standard fare of Mozart Beethoven and Brahms, and the imagination and opportunism of Walter Legge was well vindicated in the reception given to his production of Rosenkavalier. Both the story and the music of Rosenkavalier were ostentatiously and provocatively reactionary in 1911, the very year of Stravinsky's Rite of Spring, and Legge's instinct was right in sensing that this evocation of a vanished and irresponsible culture would be welcomed in a society yearning to put austerity and dull dutifulness behind it. In the 50's the number of classical recordings had not yet exceeded what could be annually reviewed in a leisurely way in a hardback book called The Record Year, and I can still remember what a landmark production it saw this Rosenkavalier as being.

Another factor was Karajan. This was a new kind of orchestral maestro, flamboyant in his lifestyle and a `society' figure. It would be perverse to deny that he was an outstanding musician nevertheless, and this Rosenkavalier is as good a test-case as any for how one finally rates him. To me he seems to have done nearly everything very well without ever attaining the outright greatness of Fuertwaengler Toscanini or Beecham. He was outstandingly professional and even in his way perfectionistic, just as Legge was, but he had a soul and deep sensibility as well, and there is no way this performance can be faulted for failure to understand the music or the composer. And that takes us back to the performers. Schwarzkopf, for me, is ideal as the Marschallin, her voice coming over as the right kind of thirtysomething as well as having the authority and poise that the role demands. I think it would be possible to quibble endlessly over the right sort of voices for Octavian and Sophie without coming to any firm conclusion. I wouldn't claim that Teresa Stich-Randall has a vocal quality to rival, say, Janowitz or Ameling, but Sophie is an innocent and unsophisticated young girl, not Princess Margaret or Joanna Lumley, and I have no difficulty with Stich-Randall in the part. As for Octavian, how does the singer act the part of a youth who can pass for feminine to Ochs not only by his looks but apparently by his voice as well? Ludwig is a great singer and a great musician and that will do for me. I particularly like the way Edelmann handles the part of Ochs, partly Austria's answer to Squire Western but also with the right air of second-tier aristocracy to him. It would be hard to think of anything Waechter did not sing well, and there is an unlooked-for bonus in the form of Gedda, no less, as the Italian tenor.

The recording has benefited from some digital remastering, and it would be unreasonable to complain that it is not and cannot be quite the equal of productions dating from 30 and 40 years later. The booklet is excellent too, with a fine essay by Karajan's biographer Richard Osborne; and Legge, husband of Schwarzkopf, supplies the English translation of the libretto. This is not, I should say, an absolutely transcendental performance in the sense that one might say that of Fuertwaengler's Tristan or of Parsifal from Knappertsbusch, the kind of reading that has never been fully equalled and never seems likely to be. It's more on the level, eminent indeed but not out of sight, occupied by Karajan's own fine Mastersingers, which I also own and highly value. If the performance and recording are your exclusive preoccupation there are certainly rivals to this account and there is plenty of informed commentary on those to guide your choice. For me, as I suppose I've indicated, this is a set that I want just for itself regardless of comparisons. I shall be very surprised if it ever disappoints anyone else either.

Five stars, but not for Karajan.......2006-08-29

Most of the reviews of this recording are helpful and high-quality. And yet, I find myself disagreeing with some criticism and with some praise as well. Some reviewers complain that Schwarzkopf overinterprets her role, including "cooing" or "meowing." Much depends on whether one finds her interpretation convincing. I do. How else is one supposed to realize an over-ripe Viennese role? Touching, funny, but highly stylized most of all. The Marshallin, after all, is not supposed to sound either like a valkyrie or a Mozartian momma.

My criticism is both for the sound and the conducting. The orchestral sound *is* a bit unfocussed, although my pressing has one less remastering than the current one, so this problem may have lessened somewhat.

But then there's Karajan. I am not a fan of his work in general, although his Strauss is sometimes very effective. In this case, I find that Strauss's orchestral brilliance is dimmed because of Karajan's aesthetic of instrumental blending in which some of the distinctive qualities of the instruments are lost in the attempt to interlace them. Sometimes this works for Strauss (e.g. K's version of Four Last Songs), but here it interferes with the play among instruments, in my opinion.

Still, this gets five star for the quality of the singing, in particular Schwartzkopf's.

Classical Masterpieces of the Millennium [20 CD Set]

Average customer rating:

Mill. Classical review
classical music for the unitiated
Some little gems there that I had forgotten!
A very helpful collection
Excellent!

Classical Masterpieces of the Millennium [20 CD Set]

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Mazurkas | Ballets & Dances | Classical | Styles | Music

Minuets | Ballets & Dances | Classical | Styles | Music

Polkas | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Airs | Vocal Non-Opera | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music
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ASIN: B00000K1C9
Release Date: 1999-08-24

Tracks:

Brandenbutg Concerto No.3 In G First Movement
Overture No.3 In D Second Movement
Violin Concerto In E First Movement
Prelude In C minor
Jesu Bleibet Meine Freude (Chorus From Cantata No.147)
Overture No.2 In B minor Minuet And Badinerie
Oboe Concerto In D minor Second Movement
Brandenburg Concerto No.4 In G Third Movement
Musical Offering - Fuga canonica
Easter Oratorio - Overture
Minuet In D minor
Kommst Du Nun, Jesu, Vom Himmel herunter(From Choral Prelude BWV 650
Brandenburg Concerto No.1 In F Second Movement
Art Of The Fugue - Contrapunctus 9
Concerto For Flute, Violin, Harpsichord And Strings. Triple Concerto - Third Movement
Overture No.4 In D - Réjouissance
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Water Music - Alla Hornpipe
Xerxes - Ombra Mai Fu (Largo)
Messiah - And The Glory Of The Lord
Concerto Grosso In A Minor, Op. 6, No. 4 - Larghetto Affettuoso
Organ Concerto In F, Op. 4, No. 4 Allegro
Water Music - Air
Messiah - For Unto Us A Child Is Born
Concerto Grosso In B flat, Op. 3, No. 2 - Largo
Salomon - Sinfonia, Act 3
The Choice Of Hercules - While For Thy Arms
Water Music - Allegro (Suite No. 1)
Suite No. 5 In E - Air With Variations
Jephtha - How Dark, O Lord
Organ Concerto In F, Op. 4, No. 5 Alla Siciliana - Presto
Mi Palpita Il Cor (Solo Cantata) S'un Di M'adora
Water Music - Andante Allegro Da Capo
Concerto for Trumpet & Orchestra in E-flat: First Movement
Symphony No. 94 in G: Surprise Symphony-second movement
Concerto for Violin No. 2 in D: Third Movement
Flute Trio No. 31 in G: Second Movement
Symphony No. 31 in D: Hornsignal-First Movement
String Quartet No. 17 in F, Op. 3, no. 5: Serenade Quartet-Second Movement
Sinfonia Concertante in B-flat for Violin, Cello, Oboe, Bassoon and Orchestra-Third Movement
Concerto for 2 Horns & Orchestra in E-flat: Second Movement
Symphony No. 88 in G: Fourth Movement
String Quartet No. 77 in C: Kaiser Quartet-Poco adagio cantabile
Notturno No. 1 in C: Second Movement
Symphony No. 98 in B: Londoner No. 4-Fourth Movement
Eine Kleine Nachtmusik - first movement
Piano Concerto in A - second movement
Flute Concerto in D - Rondeau
Serenade - Minuet
Violin Concerto - first movement
Symphony No. 40 in G minor - first movement
Clarinet Concerto - second movement
Turkish March
Divertimento - Minuet
Horn Concerto No. 3 in E-flat - first movement
Symphony No. 5 in C minor, Op. 67-First Movement
Piano Sonata No. 14 in C sharp minor, Op. 27, no. 2: Moonlight Sonata-First Movement
Overture
O welche Lust (Prisoners' Chorus)
Ha, welch ein Augenblick (Pizarros's Aria)
Concerto for Piano and Orchestra No. 3 in C minor, Op. 37: Second Movement
Concerto for Violin and Orchestra in D, Op. 61: Third Movement
Piano Sonata No. 8 in C minor, Op. 13: Pathétique-Second Movement
Sympony No. 6 in F, Op. 68: Pastorale-First Movement
Fantasy for Piano, Chorus and Orchestra in C minor, Op. 80: Choral Fantasy - Finale
German Dance No. 1 In C
Impromptu Op. 90, No. 3 In G-Flat
Heidenroslein
Ave Maria
Der Lindenbaum
Quintet In A 'Trout Quintet' - Andante
Mass No. 6 In E-Flat - Kyrie
Die Schone Mullerin Des Mullers Blumen
German Dance No. 2 In G
Piano Sonata In B-Flat
Nachtgesang Im Walde
Winterreise - No. 15: Die Krahe
German Mass - Zum Sanctus (Heilit, Heilig Ist Der Herr)
Symphony No. 8 In B Minor 'Unfinished' - Second Movement
Waltz No. 1 in E-flat, Op. 18 Grande Valse brillante
Nocturne in E-flat, Op. 9, no. 2
Etude in G-flat, Op. 10, no. 5
Concerto for Piano and Orchestra No. 2 in F minor, Op. 21-Second Movement
Mazurka in D minor, Op. 33, no. 2
Prelude in D-flat, Op. 28, no. 15 Raindrop
Etude in C, Op. 10, no. 1
Nocturne in D-flat, Op. 27, no. 2
Impromptu No. 4 in C-sharp minor, Op. 66 Fantasy Impromptu
Scherzo in B minor, Op. 20
Piano Sonata No. 2 in B-flat minor, Op. 35-Third Movement
Concerto for Piano and Orchestra No. 1 in E minor, Op. 11 - Third Movement
Piano Concerto No. 1 in B-flat minor - first movement 113.String Seranade - Waltz
Violin Concerto - second movement
The Sleeping Beauty - Waltz
Capriccio Italien, Op. 45
Swan Lake - Waltz
Eugene Onegin - Polonaise
The Nutcracker - Waltz of the Flowers
Orchestral Suite No. 4 - Mozartiana - Third Movement
Swan Lake - Dance of the Swans
Symphony No. 6 in B minor - Pathétique - Third Movement
Hungarian Dance No.5
Lullaby
Symphony No.1 in C minor, Op. 68 - Third Movement
Intermezzo in E-flat, Op.117, no. 1
Concerto for Violin and Orchestra in D, Op. 77 - Third Movement
Waltz, Op. 39, no. 15
Concert for Piano and Orchestra No. 2 in B-flat, Op. 83 - Second Movement
String Quintet in G, Op. 111 - Second Movement
Symphony No.4 in E minor, Op. 98 - Third Movement
Intermezzo in A minor, Op. 76, no. 7
Hungarian Dance No.1 in G minor
German Requiem Selig sind die Toten (Final Chorus)
Die Fledermaus - Overture
Kaiser Waltz, Op.437
Thunder And Lightning Polka, Op. 324
Roses From The South Waltz, Op. 388
AnnenPolka, Op. 117
Vienna Blood Waltz, Op. 354
Eljen A Magyar Polka, Op. 332
Wine, Women and Song Waltz, Op. 333
On The Beautiful Blue Danube Waltz, Op. 134
Die Meistersinger Von Nurnberg - Overture
Tannhauser - Die Pilger sind's (Pilgims' Chorus)
Tannhauser - O du mein holder Abendstern (Wolfram's Aria)
Lohengrin - Act 3 Prelude and Bridal Chorus
The Flying Dutchman - Jo-ho-he Traft ihr das Schiff (Senta's Ballad)
The Flying Dutchman - Steuermann, lass die Wacht (Sailors' Chorus)
Die Walkure - Wintersturme wichen dem Wonnemond (Siegmund's Aria)
Die Walkure - Ride of the Valkyries
Siegfried Hoho! Hoho! Hohei! Schmiede mein Hammer (Siegfried's Forging Song)
Tristan und Isolde - Liebestod
Thus sprach Zarathustra, Op. 30 (excerpt)
Don Juan, Op. 20
Eine Alpensinfonie, Op. 64, I.Nacht
Don Quixote, Op.35, first movement: Introduction
Salome, Op. 54, Dance Of The Seven Veils
Der Rosenkavalier, Op. 59, Finale: Hab' mir's gelobt ihn lieb zu haben
Piano Concerto 2 In C minor, Op. 18 - First Movement
Vocalise, Op.34, No. 14
Prelude In G Sharp minor, Op. 32, No. 12
Piano Concerto No. 4 In G minor, Op. 40 - Third Movement
Symphony No. 2 In E minor, Op. 27 - Third Movement
Piano Concerto No. 1 In F sharp minor, Op. 1 - Second Movement
Rhapsody, Op. 43 On A Theme By Paganini
Hungarian Rhapsody No.2
Liebestraum No.3 in A-flat
Piano Concerto No.1 in E-flat - third movement
Angelus
Mephisto Waltz No.1 (Dance in a Village Tavern)
Prelude and Fugue on B-A-C-H
Dante Symphony - Finale. - Purgatorio - Magnificat
Les Préludes
Boléro
Daphnis et Chloé first movement: Nocturne
Rhapsodie Espagnole
Shéhérazade - first movement: Asie
Ma Mère l'Oye - fourth movement: La Belle et la Bête
Introduction and Allegro for Harp, Flute, Clarinet, and String Quartet
La Valse
Slavic Dance No. 1 in C, Op. 46, no.1
Symphony No. 9 in E minor, Op. 95 'From the New World' - second movement
Humoresque, Op. 101
Slavic Dance No. 8 in G minor, Op. 46, no. 8
Serenade for String Orchestra, Op. 22 - second movement
Romance for Violin and Orchestra In F minor, Op. 11
Symphony No. 7 in D minor - third movement
Melodie (Songs My Mother Taught Me)
Carneval Overture, Op. 92
Concerto for Cello and Orchestra in B minor, Op. 104 - third movement
Symphony No.4 In A, Op. 90. Italian - First Movement
Frühlingslied In A, Op. 62, No. 6
Wedding March (From A Midsummer Night's Dream, Op.61)
Duetto In F, Op.30, No.6 (From Songs Without Words)
String Symphony No.9 In C. Schweitzer Symphony - Third Movement
Concerto For Violin, Piano And String Orchestra No. 1 In D minor - Second Movement
Symphony No.3 In A minor, Op.56 Scottish - Third Movement"
Notturno (From A Midsumment Night's Dream, Op. 61)
Rondo Capriccioso, Op.14
String Symphony No. 12 In G minor - First Movement
Venetian Gondola Song In F Sharp minor, Op.30, No.6
Scherzo (From A Midsumment Night's Dream, Op. 61)
Violin Concerto In E minor, Op.64 - Third Movement
Peer Gynt - Suite No. 1, Op. 46 - Morgenstimmung
Holberg Suite, Op. 40 - I. Prelude. Allegro vivace
Holberg Suite, Op. 40 - IV. Air. Andante religioso
Arietta, Op. 12, no. 1
Homage March from Sigurd Jorsalfar, Op. 56
Peer Gynt - Suite No. 2, Op. 55 - Solveig's Song
Wedding Day at Troldhauen, Op. 65, no. 6
The Last Spring, Op. 34, no. 2
Peer Gynt - Suite No. 1, Op 46 - Anitra's Dance
Nordic Melody Op. 63
Notturno, Op. 54, no. 4
Elegie, Op. 47, no. 5
Peer Gynt - Suite No. 2, Op. 55 - Arabic Dance
Piano Concerto in A minor, Op. 16 - Allegro
Symphony No. 3 in E flat, Op. 97 - Rhenish - first movement
Traumerai (from Kinderszenen, Op. 15)
Mondnacht (from Eichendorff-Liederkreis, Op. 39)
Aufschwung (from Fantasietucke, Op. 12)
Triolett, Op. 114, no. 2
Tanzlied (No. 1 from Duets, Op. 78)
Symphony No. 4 in D minor, Op. 120 - second movement
Frühlingsgruss
Abschied (from Waldszenen Op. 82)
Dichterliebe, Op. 48 - Im wunderschonen Monat Mai
Manfred Overture, Op. 115
Romance in F sharp, Op. 28, no. 2
Die Rose stand im Tau
Liebesgarten (from Four Duets, Op. 34)
Warum? (from Fantasiestucke, Op. 12)
Kennst du das Land, Op.79, no. 29 (from Lieder der Mignon, Op. 98a)
Von fremden Landern und Menschen (from Kinderszenen, Op. 15)

Album Description

An extraordinary 20-CD collection of great works by Bach, Vivaldi, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, Tchaikovsky, Brahms, Ravel, Mendelssohn, Rachmaninoff, J. Strauss, R. Strauss, Schumann, Wagner, Dvorak, Grieg and Liszt. It also features worldrenowned artists such as Sir Neville Marriner, Martha Argerich, Ivo Pogorelich, Hermann Prey, Reiner Goldberg, Sylvia Sass, Jochen Kowalski, Peter Schreler and many more. This exquisite, copper metallic, deluxe boxed set is the perfect gift for the classical music neophyte.

Customer Reviews:

Mill. Classical review.......2007-05-13

This is a great set of recordings for the money, the only problem was I've had to clean some of the CD's before they played correctly.

classical music for the unitiated.......2007-04-01

This set is a good way to start listening to classical music. It's very well produced and easy to listen to. I purchased it to use as part of my world history high school class. It would have been nice to have some bio information on the composers. However, the product is exactly as advertised and good value for the money. The students were intrigued by how many of the excerpts they had heard before.

Some little gems there that I had forgotten!.......2007-03-30

Although I studied classical music at school, I had all but forgotten it until I bought this set. I heard several tracks I haven't heard for over 30 years, and I had been humming Brahms's 'Hungarian Dance no. 5' for years without ever knowing what it was and it was on the disc, so that was nice.

I found it to be a very good selection overall, but I felt too much had already been heard on TV, which of course is what lots of newcomers to classical music might appreciate. I managed to find about 2 hours of tracks that I wanted to keep, which works out quite expensive per disc, but I did find some wonderful music I had completely forgotten about, so it was worth it. All in all, it represents good value, and I have only knocked one star off as so much of it had been used in adverts.

It is definitely a good introduction to classical music, and it has made me want to listen to more of it, so I don't regret this 'expensive' purchase one bit!

Classical Masterpieces of the Millennium [20 CD Set]

A very helpful collection.......2007-03-24

I define this set as an excellent way to find out who you like, and who you don't, among 20 of the important composers. It opens the door to purchasing more complete pieces by composers you do like, and can save a lot of time and money in the process.
To criticize the set for not containing more composers, or more than just snippets of those who are in the set, is missing the point: it is a helpful introduction to finding your way in the huge maze of classical music. It succeeds admirably in this.
Sound quality is uniformly very good on an audiophile system.
Highly recommended.

Excellent!.......2007-03-08

A great way to start a classical music collection. It's nice to have a full CD of each composer. It makes it easy to keep track of selections/composers I already have and what composers I still need to puchase to complete my collection.

Average customer rating:

FAVORITE WALTZES
Dream Away
What a wonderful CD!!!
Wonderful Waltzes
[poor quality]

Favorite Waltzes

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

Strauss Waltzes
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ASIN: B000000UVT
Release Date: 1995-10-17

Tracks:

The Blue Danube
Tales From The Vienna Woods
Artist's Life
Voices Of Spring
You And You (From Die Fledermaus)
Vienna Life
Emperor Waltz
Live, Laugh And Love
Skaters Waltz
The Waves Of The Danube
Waltzes (From Der Rosenkavalier)

Customer Reviews:

FAVORITE WALTZES .......2007-05-12

I ENJOY THE CLASSICS AND IF YOU DO, OR JUST BEGINNING TO LISTEN, THE OLD MASTERS ARE GREAT. TO ENJOY THIS MUSIC ONE MUST DEVOID YOUR MIND OF YOUR SURROUNDINGS. THEN LISTEN TO THE INSTRUMENTS AND PLACE YOURSELF THERE. IT WILL TAKE YOU AWAY TO A PEACEFUL PLACE.

Dream Away.......2007-02-16

Nice relaxing music with a good sound and orchestra containing an assortment of famous waltzes.

What a wonderful CD!!!.......2006-10-24

Like the last review, I am not sure what the first person was thinking when they gave this CD only 1!!! star. I just received this and sitting here with tears in my eyes. This is exactly what I have been looking for. I have been looking for specifically the "Skater's Waltz" for some time now and finally found it!! I can't believe that anyone who listens to this Wonderful CD could give it anything less than 5 stars! I purchased one for my mom for Christmas and one for myself.
I had to add to this because I just purchased my third CD of this!! I have already given away two as gifts. This is so delightful and you really listen on a headset in a quiet room. You will be swept away by the beauty of these waltzes!!!

Wonderful Waltzes.......2005-05-04

I don't know what the previous reviewer is talking about (maybe he did spend too much of his money on cheap beer), but this is a wonderful CD of Waltzes. The original EMI Seraphim series featured some of the greatest recordings of the golden age of stereo at absurdly low prices. The titles that are still readily available like this one, for many are out-of-print and fetching prices ten times their original price, are among the best values in the history of classical music. This CD in particular features Felix Slatkin and Milos Rosza both leading the Hollywood Bowl Symphony Orchestra in memorable renditions of Strauss Family, Waldteufel and Ivanovici classics. All the nuggets are here -- The Blue Danube, Emporer, Skaters and Der Rosenkavalier Waltzes -- in legendary performances. Don't be fooled, this is a great buy!

[poor quality].......2003-02-25

Take your $... and spend it on some cheap beer instead of this CD, You will enjoy it more. However, If you want to hear what "Quality High Fidelity" sounded like on a very low grade record player in the late 1950's, go ahead and buy this CD. It sounds as if it was recorded from a neighbor's 78 rpm player using an inexpensive microphone held up to the speaker.

Tracks:

Act I: Einleitung - Wiener PO/Solti
Act I: Wie Du Warst! Wie Du Bist! - Yvonne Minton
Act I: Marie Theres'!/Octavian! - Yvonne Minton/Hans Pipal/Adolf Tomaschek/Alexander Maly/Leo Heppe
Act I: Quinquin, Es Ist Mein Mann! - Hans Pipal/Adolf Tomaschek/Alexander Maly/Leo Heppe
Act I: Selbstverstandlich Emofangt Mich Ihro Gnaden - Manfred Jungwirth
Act I: Hat Sie Schon Einmal Mit Einem Kavalier - Manfred Jungwirth
Act I: Nein, Er Agiert Mir Gar Zu Gut! - Hans Pipal/Adolf Tomaschek/Alexander Maly/Leo Heppe
Act I: I Komm' Glei - Yvonne Minton
Act I: Di Rigori Armato Il Seno - Luciano Pavarotti
Act I: Als Morgengabe-Ganz Separatim Jedoch - Manfred Jungwirth
Act I: Mein Lieber Hippolyte - Hans Pipal/Adolf Tomaschek/Alexander Maly/Leo Heppe
Act I: Da Geht Er Hin - Hans Pipal/Adolf Tomaschek/Alexander Maly/Leo Heppe
Act I: Ach, Du Bist Wieder Da! - Hans Pipal/Adolf Tomaschek/Alexander Maly/Leo Heppe
Act I: Die Zeit, Die Ist Ein Sonderbar Ding - Hans Pipal/Adolf Tomaschek/Alexander Maly/Leo Heppe
Act I: Ich Hab' Ihn Nicht Einmal Gekusst - Hans Pipal/Adolf Tomaschek/Alexander Maly/Leo Heppe

Tracks:

Act II: Ein Ernster Tag, Ein Grosser Tag! - Otto Wiener
Act II: In Dieser Feierlichen Stunde Der Prufung - Helen Donath
Act II: Mir Ist Die Ehre Widerfahren - Yvonne Minton
Act II: Ich Kenn' Ihn Schon Recht Wohl, Mon Cousin! - Helen Donath
Act II: Jetzt Aber Kommt Mein Herr Zukunftiger - Helen Donath
Act II: Eh bien! Nun Plauder' Sie Uns Eins - Manfred Jungwirth
Act II: Wird Sie Das Mannsbild Da Heiraten, Ma Cousine? - Yvonne Minton
Act II: Herr Baron Von Lerchenau!-Her Baron Von Lerchenau! - Murrie Dickie/Anne Howells
Act II: Mord! Mord! Mein Blut! Zu Hilfe! - Manfred Jungwirth
Act II: Herr Schwiegersohn! Wie Ist Ihm Denn? - Otto Wiener
Act II: Blamage. Mir Auseinander Meine Eh' - Otto Wiener
Act II: Is gut! Is Gut! Ein Schluck Von Was Zum Trinken! - Manfred Jungwirth
Act II: Da Lieg' ich! Was Einem Kavalier Nit All's Passieren Kann - Manfred Jungwirth
Act II: Ohne Mich, Ohne Mich Jeder Tag Dir So Bang - Manfred Jungwirth

Tracks:

Act III: Einleitung Und Pantomime. - Wiener PO/Solti
Act III: Hab'n Euer Gnaden Noch Weitre Befehle? - Anton Dermota
Act III: Nein, Nein, Nein, Nein! I Trink Kein Wein - Yvonne Minton
Act III: Es Is Ja Eh All's Eins, Es Is Ja Eh All's Eins - Yvonne Minton
Act III: Da Und Da Und Da Und Da! - Manfred Jungwirth
Act III: Halt! Keiner Ruhrt Sich! Was Ist Los? - Herbert Lackner
Act III: Zur Stelle! Was Wird Von Mir Gewunscht? - Otto Wiener
Act III: Sind Desto Eher Im Klaren. Ich Zahl', I Geh! - Manfred Jungwirth
Act III: Bin Glucklich Uber Massen, Hab' Die Gnad Kaum Meritiert - Manfred Jungwirth
Act III: Lass Er Nur Gut Sein Und Verschwind' Er Auf Eins, Zwei! - Hans Pipal/Adolf Tomaschek/Alexander Maly/Leo Heppe
Act III: Leupold, Wir Gehn! - Manfred Jungwirth
Act III: Mein Gott, Es War Nicht Mehr Als Eine Farce - Helen Donath
Act III: Marie Theres'!/Hab Mirs Gelobt - Yvonne Minton/Hans Pipal/Adolf Tomaschek/Alexander Maly/Leo Heppe
Act III: Ist Ein Traum, Kann Nicht Wirklich Sein - Helen Donath

Customer Reviews:

A great Strauss recording salvaged by remastering.......2007-02-19

The CD revolution of the 80s sent record companies scrambling to transfer their LP treasures into digital sound. Ironically, Decca at first came up with shrill, metallic transfers that betrayed their famous analog sound. And so matters stood for over a decaade with such indispensable recordings as Solti's Ring cycle and renowned Strauss operas. Der Ronsenkavalier was severely harmed given that the LP version was already a birght recording with x-ray detail.

But here it is sounding, if not mellow, at least not ear-piercing. The loudest tuttis from the ever-magnificent Vienna Phil. still cause some ear burn, but the voices no longer do, thank God. It's a joy to hear Crespin, Minton, and Donath soar on high without having to wince. As for the performance itself, I agree with almost every reviewer here. Solti drives a bit hard and is prone to over-emphasis, but he lowers the sugar content considerably, a great thing in Rosenkavalier. His aim is pointed drama, not luscious Viennese schlag. His singers follow suit, especially Yvonne Minto, who gives us an impetuous, headstrong Oktavian shorn of feminine nuance--this boy strides the stage like a man.

Manfred Jungwirth abolishes the stereotype of Ochs as a buffoon; his characterization is full of sharp personality and shrewd detail; he's capable of being boorish and snappish, proud and brutal, without turning those attitudes into jokes. This Baron would run right over you if you stepped in his way. Helen Donath sings with complete ease and girlish charm as Sophie,. In my mind, Regine Crespin is probably Schwarzkopf's only rival in the modern era as the Marschallin. Solti never stops moving things along, so Crespin isn't given the proper setting for an inward, reflective performance of the kind Schwarzkopf had mastered. Instead, this Marschallin is restless, at times panicky, alert, and seductively young--a great portrayal full of womanly warmth as well.

In sum, I will always turn to the famed Karajan/Schwarzkopf set on EMI for wisdom and the Solti for thrills. Highly recommended.

Fabulous Crespin.......2004-03-08

It is probably a good idea to remember Solti came along roughly at the time stereo sound was being introduced (not exactly, but close enough for my argument). I've always felt Decca wanted a conductor capable of demonstrating to one and all why the improvements stereo offered over mono were worth spending money on. Solti was just what they were looking for. Hair trigger climaxes, louder than loud fortissimi, often brisk tempi to the point of being brusk, etc. The thing is, as people got used to stereo sound, the need for "sound demonstration" decreased. Unfortunately, Decca and Solti never figured that out.

So, Solti remained Solti. Don't misunderstand me. Decca and Solti have given us a legacy of wonderful recordings (not including, in my opinion, The Ring, but that's another story). This "Rosenkavalier" is one of them. Yes, Solti is still Solti. Overemphatic to a fault. Decca is still Decca. Every small detail in the clearest relief, whether Strauss intended it to be so or not.

But it has Crespin. That would be Regine Crespin, to the younger amongst us. One of the great soprani of the 20th Century. And, arguably, in the finest recording she ever made. Those of us who were lucky enough to have heard her in the house on a good night (she had bad ones from time to time) will forever be grateful this recording, the best document we have of her fabulous voice, exists. The rest of the cast is good, although perhaps not quite up to her standard. Yvonne Minton had a distinguised career, and every note she sings her is just about perfect. But she was always, at least to me, a bit too reserved. I always wanted her to just let loose. So far as I know, she never did. At least not in the recording studio. Helen Donath is as lovely here as she was in the house. A great artist. Manfred Jungwirth is teriffic here. He presents a vivid image of Ochs. Pavarotti doesn't have a clue about the satirical nature of what he is singing, of course. You need a Gedda for that. But he sure does sing it!

I know I'm not being terribly critical, but I can't help it. Regine Crespin was a force of nature and I cherish my memories of her. And this recording.

By-the-way, although the new cover art is abysmal (the original LP box set's cover was silver with a beautiful embossed silver rose in relief) the new mastering actually makes what was already good even better. I marvel at the untiring technical wizards in their endless quest to make something just a little better.

Absolutely gorgeous!!.......2003-11-28

Gorgeously sung and gorgeously conducted!! What more could anybody want??? Solti's is one of the few Rosenkavaliers where you don't fall asleep halfway through. He keeps the drama moving along nicely so that you don't have to "wait for the next bit" because it's always exciting. And the sound is absolutely gorgeous as well.

Final analysis - a drop dead gorgeous set that must feature in every Strauss collection.

MY cup of tea.......2003-11-15

It is exactly because Solti is dramatic and emphatic that his Rosenkavalier is not boring. Although Rosenkavalier is Strauss' most successful opera to date, it is common consensus that parts of it are just plain boring. This is especially so in Act 1, what one reviewer calls boudair (?). I would call it somewhat boring. Other conductors like to linger and bath in sound so that you feel like the music comes to a standstill. With Solti, the pulse never sags!!

Sound-wise, the Solti wins hnads down! No doubt about that!! As the gramophone guide says, some reviewers consider Solti to be better than the Karajan. I'm in that camp! Rather than say which is better I will describe the characteristics and let the buyre decide. The Solti is exciting, lively, sumptuous in sound - somewhat like an action thriller. The Karajan is more lovey-dovey and slow, like a romantic movie showing 2 lovers slowly kissing. But really, this applies mainly to the first act. In Act2 and Act3 the differences are smaller.

Stunner.......2003-10-22

Solti pulls another Strauss stunner. It was his brilliant performance of Der Rosenkavalier that led to his appointment as the Music Director of Convent Garden in 1960. This recording showcases his prodigious conducting talents. There's hardly a better Rosenkavalier today. I prefer this set to Karajan's famous 1956 set in which I fall asleep at some places. The Decca sound here is sumptuous and superb.

Average customer rating:

Half the tracks are march or played like one
decent for dancing
Recommended
Wonderful selection, but not really dancing music
This Will Keep You Dancing

25 Classical Dance Favorites

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Dances | Ballets & Dances | Classical | Styles | Music

Polkas | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Compilations | Classical | 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

Marches | Miscellaneous | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

25 Classical Favorites
A Night at the Ballet (Box Set)
Symphony (25) Favorites
Favorite Waltzes
25 Concerto Favorites

ASIN: B0000058IQ
Release Date: 1997-07-01

Tracks:

Blue Danube Waltz
Midsummer's Night Dream: Scherzo
Sleeping Beauty: Introduction
Sleeping Beauty: Adagio pas d'action
Annen Polka
Tales From The Vienna Woods
Turkish March
Bella Bolka Polka
Les Patineurs: Pas de Duex From Les Patineurs
Les Patineurs: Finale From Les Patineurs
Dance Of the Nubian Slave Girls
Samson: Ballet Music From Samson
Entry Of The Gladiators
La Gioconda: Dance Of The Hours
Washington Post
Peaches & Cream
Polovtsian Dances (Extract)
Slavic Dance In G Minor, Op.46 No. 8
Der Rosenkavalier Waltz
Galop (La Vie Parisienne)
Orpheus: Can Can (Orpheus)
Sabre Dance
Gavotta Choro
Faust: Ballet (Extract)
Bolero

Customer Reviews:

Half the tracks are march or played like one.......2007-06-05

This disc reminded me of Leonard Bernstein's conducting: somehow many of his conducting session became marches. Many tracks on this disc is like that. I am a novice when it comes to classical music, so part of allure of this disc was that it contained many titles I didn't recognize, so it wasn't a total loss. I guess I should have read the track listing more carefully... what is Washington Post by Sousa doing on dance compilation?

decent for dancing.......2006-12-31

There are quite a few tracks on here that do well for recital music. THere's different ones from the unoriginal swan lake's and nutcracker..my students loved to hear what came next....it gets better towards the end of the cd!

Recommended.......2005-10-03

For those who would enjoy a fast, fun, and cheerful kind of classical music, I guess this cd is a very good choice. Also, if you want to make your kids a classic music lover, you could start with this fun, lighthearted music.

Wonderful selection, but not really dancing music.......2000-06-27

I agree that this is indeed absolutely beautiful light classical music. It is indeed a perfect beginning to a lifelong passion to have classical music playing in the background or to turn up the volume and immerse yourself in it. But it consists of mostly ballet music, several marches, polkas, an entrance of the gladiators, a gavotte and just to show that he can-can, a delightful little march by Beethoven of all people (Turkish March). Or can you dance to the continuous hypnotic rhythm of Ravel's Bolero? Quite tiring, I would think. Nevertheless, great music at an astounding price. Consider buying all or most of the "25 Favorites" series. You will not regret it

This Will Keep You Dancing.......2000-03-30

If you like to dance and you like classical, this cd is a must have. Who says you can't dance to classical? This CD proves those who think so wrong. Highlights include Tchaikovsky's Sleeping Beauty, Mendhelsson's Midsummer Night's Dream, Gounod's Dance of the Slave Girls and Faust, Dvorak's Slavonic Dance, Offenbach's can-can (yeah!) Katchaturian's Sabre Dance and Ravel's Bolero. All these are excellent. Sousa Marches are here too. You must get this CD if you are a serious lover of the classical. In fact, this was my first Classical CD. Make it a part of your life and dance to the great beats of the classics ! Yeah I'm serious.

James Levine's 25th Anniversary Metropolitan Opera Gala

Average customer rating:

James Levine's 25th Anniversary Met Opera Gala
Passing the acid test
Great cd
Great variety of fantastic singers!

James Levine's 25th Anniversary Metropolitan Opera Gala
Wolfgang Amadeus Mozart , Giuseppe Verdi , Georges Bizet , Franz Lehár , Charles Gounod , Gustave Charpentier , Johann Strauss II , Jules Massenet , Camille Saint-Saëns , Richard Wagner , Jacques Offenbach , Richard Strauss , Metropolitan Opera Orchestra , James Levine , Plácido Domingo , Renée Fleming , Birgit Nilsson , Bryn Terfel , Roberto Alagna , Anne Sofie von Otter , Samuel Ramey , Ileana Cotrubas , Dolora Zajick , Jerry Hadley , Hei-Kyung Hong , Kiri Te Kanawa , Ruth Ann Swenson , Hakan Hagegard , Karita Mattila , Alfredo Kraus , Grace Bumbry , and Deborah Voigt
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD