J. Strauss II: Die Fledermaus

On this CD:

1. Die Fledermaus (The Bat), operetta (RV 503)
Composed by Johann II Strauss
Performed by Walter Berry, Anton Dermota, Wilma Lipp, Christa Ludwig
Conducted by Otto Ackermann

Tracks:

Serse: Frondi tenere - Ombra mai fu
Giulio Cesare In Egitto: E pur cosi - Piangero la sorte mia
Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte
Ridente la calma
S'il est un charmant gazon
Comment, disaient-ils
Enfant, si j'etais roi
Oh! Quand je dors
Amor
An die Nacht
Vocalise
Zdes' Choroso
V molcan'i noci tajnoj
Ne poj, krasavica
Porgy And Bess: Summertime
Good News
Louise: Depuis le jour
Die Fledermaus: Mein Herr marquis
Over My Head I Hear Music
He's Got The Whole World In His Hand
Swing Low, Sweet Chariot

Customer Reviews:

Ms. Battle does it again.......2006-03-29

Ms. Battle covers musical styles from baroque all the way to spirituals on this CD, and excels at each song she sings. My personal fav's are "Frondi tenere...ombra mai fu" "Mein herr marquis" "Vocalise" "Swing Low" "Piangero la sorte mia". One impression I get when I hear this CD, is that Ms. Battle had fun with each one of these songs. She sounds like she is enjoying singing them and is totally relaxed with full confidence in her voice. So many singers you hear sound tense, but not here. It's hard to explain really, but generally, when a singer is struggling and fighting to sustain a good sound or sing artistically, you can sense it. This CD is would make a wonderful sampler for someone new to Ms. Battle's voice. It is a shame, though, that she is such a "diva". Nevertheless, this is a delightful recording and I would strongly recommend it.

A charming, lightweight song recital.......2005-09-18

This recital is a pale shadow of the great one Battle gave with Levine from Salzburg, so I wasn't satisfied with one track after another of pretty, charming singing without deep musicality or committment. battle is capable of much beter. Her fans will be pleased, and that's about all.

Kathleen Battle Takes On Carnegie Hall.......2005-04-04

Every big artist wants to perform at Carnegie Hall, its' a sign of a true career. For Kathleen Battle, this must have been quite a night. This album captures that great night, solely built around her, in which she sang aria after aria in a spectacular showcase. Handel was a specialty of hers, and the lyric texture and coloratura heights are nearly dizzying. She makes it all seem so effortless. Furthermore, Miss Battle was a magnificent French singer- most coloratura sopranos excell in the French repertoire- as Beverly Sills did and as did Madie Mesple. However, Battle always makes me feel mixed emotions. One the one hand, she does have a classic, lyric-coloratura voice that nearly became extinct after the reign of Beverly Sills and even earlier with the likes of Lily Pons and Amellita-Galli-Curci. Battle has a bright, golden voice, capable of sweetness and refinement without hysterical declamation or any unpleasant sounds. It's such a shame she did not behave proffessionally. The stories were true. She behaved like a diva holding a whip! She was ungrateful and selfish and couldn't work well with her colleagues and co-artists. She was always late to rehearsals, left early, refused to socialize or ride in the same car with her other artists and went far beyond perfectionism- she behaved like she was the greatest thing since sliced bread. But for all these shortcomings, we love her voice. Her fans, and yes she has fans, continue to buy her albums even though she has long disappeared from the world of opera that once tolerated her but said enough is enough........

I'd give this CD 20 stars if I could! Sheer perfection!.......2003-12-07

God made the nightingale, and somewhere down the line, he touched a little girl named Kathleen Battle with what he originally gave to that bird from the beginning of creation. I cannot, for the life of me, believe that a voice could be so beautiful. I hear it, I marvel, but sometimes the sheer incredible beauty of this woman's vocal artistry is mind altering and surreal. Even the nightingale must suffer a moment of jealousy when a Kathy Battle tune is played!(This is bordering on blasphemous I know, and I beg forgiveness!) But Kathy Battle is simply amazing! This CD captures her at her best.
I'm not an opera buff by any means, but I love the human voice and great singing. There is not a bad song in the bunch. Like one reviewer, I too, am not a big fan of the spirituals segment, but I have a higher tolerance for it than she..I can still enjoy them for what they're worth.

Just BUY this CD...buy more than one if you can. One for home and one for your car. Believe me, you will not be disappointed.

P.S. Can someone tell me if this Carnegie Hall recital was also filmed and where I can get a copy of it? I cannot find many filmed recitals of Kathleen Battle anywhere. There used to be many at the Metropolitan Library in NYC, but all they seem to have now are her appearances in operas. I remember seeing a Met recital of her in a red gown on the cover of the vhs box, but they must have retired it. Any Kathy Battle fans out there who can help me get a video collection going, I would be most appreciated! (ryanmarcus1@juno.com)

Lovely.......2003-07-22

Kathleen has a beautiful voice, and it's wonderful to have a CD that includes both traditional opera pieces as well as fun gospel songs. I recommend this!

Average customer rating:

Fine anthology but still prefer her "Four Last Songs" recording
RIP DAME ELIZABETH (1915-2006)
SCHWARZKOPF ----- ONE OF THE GREATS OF THE TWENTIETH CENTURY
¡PERFECT!
PERFECTA INTERPRETACIÓN

The Very Best of Elisabeth Schwarzkopf

Manufacturer: EMI Classics
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Great Recordings Of The Century - Elisabeth Schwarzkopf Sings Operetta / Ackermann
Strauss: Four Last Songs/12 Orchestral Songs
Schubert: 24 Lieder
Mozart: Opera Arias
Mozart: Lieder & Concert Arias

ASIN: B0000AF1SC
Release Date: 2003-09-02

Tracks:

Ach War Ich Schon (Fidelio)
Non So Piu (Le Nozze Di Figaro)
Porgi, Amor (Le Nozze Di Figaro)
E Susanna Non Vien!...Dove Sono (Le Nozze Di Figaro)
Mi Tradi Quell'Alma Ingrata (Don Giovanni)
Come Scoglio (Cosi Fan Tutti)
Leise, Leise, Fromme Weise (Der Freischutz)
Dich, Teure Halle (Tannhauser)
Einsam In Truben Tagen (Lohengrin)
Wie Fremd Und Tot (Die Verkaufte Braut)
Bruderchen, Komm, Tanz Mit Mir (Hansel Und Gretel)
Da Geht Er Hin (Der Rosenkavalier)
Es Gibt Ein Reich (Ariadne Auf Naxos) - Richard Strauss
Das War Sehr Gut (Arabella)

Tracks:

Jauchzet Gott In Allen Landen
Bist Du Bei Mir
Ridente La Calma
An Die Musik
Der Musensohn
Nachtviolen
Der Musensohn
Auch Kleine Dinge
Mein Liebster Ist So Klein
Verschling' Der Abgrund
Ich Hab' In Penna
Wiegenlied Im Sommer
Mausfallenspruchlein
In Dem Schatten Meiner Locken
Mignon (Kennst Du Das Land?)
Gsatzli (Swiss Folksong)
Fruhling
Im Abendrot
Muttertandelei
Zueignung
Klange Der Heimat (Die Fledermaus)
Es Lebt'Eine Vilja (Die Lustige Witwe)
Im Chambre Separee (Der Opemball)
Wien, Du Stadt Meiner Traume

Amazon.com

Elisabeth Schwarzkopf was certainly one of the greatest singers of her own, or indeed any other time. An obsessive perfectionist, her flawless technique and intonation over a huge range, vocal flexibility, breath control, phrasing, stylistic versatility, and above all her focused, radiantly beautiful sound were matchless and incomparable. All these are on full display on this generous 2-CD set, which features over a dozen arias, songs by Schubert, Wolf and Richard Strauss, and some lighter fare. The recordings were made between 1950 and 1967, and the singing becomes better and better, the voice richer and more varied, the expression deeper and more immediate. Not surprisingly, the peaks come in the arias from her signature roles in Mozart's Figaro, Don Giovanni, and Cosi fan tutte; Richard Strauss' Ariadne, Rosenkavalier, and Arabella, which rise to real ecstasy; and arias from Weber's Freischütz and Smetana's Bartered Bride, which are wonderfully intimate and touching. She is less convincing in roles she never sang on stage, and the "childish" voice she cultivated especially for Hänsel and Gretel is unnatural and contrived. The same is true of the last two "popular" numbers, which sound condescending and artificial. The songs, however, have all her customary finesse and inwardness; the Wolf group, perhaps chosen for its gentle humor, is charming, while Strauss' "Four Last Songs" (represented by two) shimmer and soar. Schwarzkopf's singing had instantly recognizable characteristics: a tendency to hold back both vocally and emotionally, giving a sense of noble restraint, but also of cool detachment; excessive use of color and nuance, creating a fussy, calculated and somewhat artificial air. Only rarely does she "let go" with full voice and spontaneous feeling. However, as these recordings show, she invariably inspires admiration and captures ear and heart through the inimitable, glorious beauty of her voice. --Edith Eisler

Customer Reviews:

Fine anthology but still prefer her "Four Last Songs" recording.......2006-11-06

The engineering and audio quality of these 1960's performances are surprisingly good. The songs are wonderfully peformed and cover a range of periods and styles, but I find myself returning to her recording (also re-released on CD) of Strauss' "Four Last Songs", which I would give 6 stars -- my favorite recording of all time.

RIP DAME ELIZABETH (1915-2006).......2006-08-04

This set is a fine tribute to this extraordinary singer and musician. I was saddened to read about her passing. She had a long life (90 years) and inspired a whole generation of singers and music lovers throughout the world.

SCHWARZKOPF ----- ONE OF THE GREATS OF THE TWENTIETH CENTURY.......2006-01-29

Elisabeth Schwarzkopf's career is what legends are made of. She is every bit as fundamental to classical singing in the twentieth century as is Maria Callas. Schwarzkopf sang with refinement, polish, beauty of voice, and meticulous articulation. She was the greatest Mozart and Strauss soprano of her day; her ability to sing the operetta music of Lehar, Suppe', and Johann Strauss has not been equalled; she performed with distinction orchestral compositions of Mahler, Brahms, Bach, and Handel; her Schubert, Schumann, Wolf, and Mahler lieder were exemplary. She sang many operatic roles, far more than many people realize, and was certainly the definitive Marshallin in "Rosenkavalier" throughout the 1950's and 1960'. I saw her many times in recital in Chicago, and even at the time of her farewell (which I was fortunate enough to see), she was sublime. All of the superlative qualities of Schwarzkopf are generously demonstrated throughout these two wonder CD's. Virtually every item is magnificent (though obviously some will prefer some to others) and has the detailed Schwarzkopf imprint stamped right into the music. This CD, great as it is, represents only a very small part of the greatness of Schwarzkopf. I already own tons of her operas and recitals, from which many of the items here come from. But for the sake of completeness, I will probably add it. A person who loves great singing can never have too much of the art of Elisabeth Schwarzkopf. She's a vocal icon.

¡PERFECT!.......2005-02-10

I only want to say that you can hear, in this double cd, one of the great singers of all time. Elisabeth Schwarzkopf. Why? Because she sings all the arias and lieder with pure of tone, brilliance, perfect inflexion, modulation, excellent control breath, measured vibrato, and, all above, great emision of colours. She is master in this art.

PERFECTA INTERPRETACIÓN.......2005-02-09

La mejor recopilación de la discografía de Elisabeth Schwarzkopf. Su belleza de voz, la impecable hilación de frases, y, sobre todo, su expresiva interpretación son algunas de las sorpresas que se podrán escuchar en estos dos discos. Sin duda, UNA DE LAS MEJORES SOPRANOS DEL SIGLO XX.

Average customer rating:

Wicked Funny Music
Gift Idea
Octoberfest fun
A great CD!

Opera's Greatest Drinking Songs

Manufacturer: RCA
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Binding: Audio CD

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German Beer Drinking & Merrymaking Songs: Featuring Music From The Octoberfest In Munich
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ASIN: B000003FV4
Release Date: 1995-04-11

Tracks:

La Traviata: Brindisi
Martha: Lasst mich euch fragen
The Student Prince: Drink, Drink, Drink
Il Trovatore: Anvil chorus
Cavalleria Rusticana: Intanto, amici
Carmen: Votre toast (Toreador Song)
Carmina Burana: In taberna quando sumus
Cherubin: Vous parlex de peril And La Manola
Rigoletto: La donna obile
What Shall We Do With The Drunken Sailor
Das Lied von der Erde: Der trunkene im fr
Wiener Blut: Stoss an!
Lucrezia Borgia: Il segreto per esser felici
Der Freischutz: Hier im ird'schen Jammertal
La Damnation de Faust: Song Of The Rat
Don Giovanni: Finch'han dal vino
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Tafellied
Eine Nacht In Venedig: Solch ein wirtshaus lob ich mir
Otello: Inaffia l'ugola!
The Bartered Bride: Welch Gottesgabe is das Bier
Die Fledermaus: O Fledermaus; Champagne hat's verschuldet

Customer Reviews:

Wicked Funny Music.......2007-05-18

Excellent choices for drunken idiots to sing to. Get some culture while you get smashed!

Gift Idea.......2007-01-17

This was a gift for a man in my life who is a beer conosouir and fluent in German. I fell in love with the cover art because it was so humourous. According to him, the music is also fun and entertaining. This could make an excellent unique gift for someone, even as a joke.

Octoberfest fun.......2000-12-12

My father got this as a joke, ... I heard it and had to have it,, perfect for drinking beer in October. Just a wonderful hearty mix!

A great CD!.......1998-12-12

This CD is so much fun, and has great music! Buy it...you'll love it

J. Strauss - Die Fledermaus / Varady, Popp, Prey, Rebroff, Kollo, Weikl, Bayerischen Staatsorchester, Kleiber

Average customer rating:

A top notch Fledermaus from Kleiber's golden years as a conductor
A true landmark
An amendment...
No, there is no better Fledermaus around
Not a safe choice, but a must for Kleiber admirers

J. Strauss - Die Fledermaus / Varady, Popp, Prey, Rebroff, Kollo, Weikl, Bayerischen Staatsorchester, Kleiber
Johann Strauss II , Carlos Kleiber , Julia Varady , Lucia Popp , Bayerischen Staatsorchester , Hermann Prey , Ivan Rebroff , René Kollo , Bernd Weikl , and Bavarian State Opera Chorus
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000031WYQ
Release Date: 2000-01-11

Tracks:

Die Fledermaus: Overture
Die Fledermaus: Act 1 - No. 1 Introduction: 'Taubchen, Das Entflattert Ist'
Die Fledermaus: Act 1 - Dialog: 'Taubchen, Das Entflattert Ist'
Die Fledermaus: Act 1 - No. 1a (Duettino): 'Ach, Ich Darf Nicht Hin Zu Dir!'
Die Fledermaus: Act 1 - Dialog: 'Die Arme Tante'
Die Fledermaus: Act 1 - No. 2 Terzett: 'Nein, Mit Solchen Advocaten'
Die Fledermaus: Act 1 - Dialog: 'Sal Mal, Also Statt Funf Musst Du Acht Tage Sitzen?'
Die Fledermaus: Act 1 - No. 3 Duett: 'Komm Mit Mir Zum Souper'
Die Fledermaus: Act 1 - Dialog: 'Seid Ihr Verruckt Geworden?'
Die Fledermaus: Act 1 - No. 4 Terzett: 'So Muss Allein Ich Bleiben'
Die Fledermaus: Act 1 - Dialog: 'Ach...Diese Manner'
Die Fledermaus: Act 1 - No. 5 Finale: 'Trinke, Liebchen, Trinke Schnell...Mit Mir So Spat Im Tete-a-tete...Mein Schones, Grosses Vogelhaus'

Tracks:

Die Fledermaus: Act 2 - No. 6 Introduktion: 'Ein Souper Heut Uns Winkt'
Die Fledermaus: Act 2 - Dialog: 'Adele, Wer Hat Denn Dich Hierher Eingeladen?'
Die Fledermaus: Act 2 - No. 7 Couplets: 'Ich Lade Gern Mir Gaste Ein'
Die Fledermaus: Act 2 - Dialog: Durchlaucht, Hier Ist Ihre Brieftasche Wieder'
Die Fledermaus: Act 2 - No. 8 Ensemble Und Couplets 'Ach, Meine Herr'n Und Damen'
Die Fledermaus: Act 2 - 'Mein Herr Marquis'
Die Fledermaus: Act 2 - Dialog: 'Hoheit, Ein Chevalier Chagrin Ist Da'
Die Fledermaus: Act 2 - No. 9 Duett: 'Dieser Anstand, So Manierlich'
Die Fledermaus: Act 2 - Dialog: 'Ah, Da Ist Ja Die Schone Unbekannte!'
Die Fledermaus: Act 2 - No. 10 Csardas: 'Klange Der Heimat'
Die Fledermaus: Act 2 - Dialog: 'Bravo! Bravissimo!'
Die Fledermaus: Act 2 - No. 11 Finale: 'Im Feuerstrom Der Reben'
Die Fledermaus: Act 2 - 'Herr Chevalier, Ich Grusse Sie! ... Merci, Merci, Merci!... Bruderlein Und Schwesterlein'
Die Fledermaus: Act 2 - Dialog: 'Wir Werden Jetzt Schen Das Ballet'
Die Fledermaus: Act 2 - Polka: Unter Donner Und Blitz
Die Fledermaus: Act 2 - 'Genug Damit, Genug!'
Die Fledermaus: Act 3 - No. 12 Entr'acte
Die Fledermaus: Act 3 - Dialog: 'Taubchenm das entflattert ist'
Die Fledermaus: Act 3 - No. 13 Melodram: 'So, D War'n Wir Ja Zu Hause Im Vogelhaus'
Die Fledermaus: Act 3 - Dialog: 'Ah, Der Herr Direktor Ist Entschlafen'
Die Fledermaus: Act 3 - No. 14 Couplets: 'Speil' ich Die Unschuld Vom Lande'
Die Fledermaus: Act 3 - Dialog: 'Herr Direktor!'
Die Fledermaus: Act 3 - No. 15 Terzett: 'Ich Stehe Voll Zagen'
Die Fledermaus: Act 3 - Dialog: 'Also, Du Willst Mir Vorwufe Machen?'
Die Fledermaus: Act 3 - No. 16 Finale: 'O Fledermaus, O Fledermaus'

Customer Reviews:

A top notch Fledermaus from Kleiber's golden years as a conductor.......2005-10-22

Recorded in 1975, this recording of Johann Strauss's most famous comic opera, "Die Fledermaus", is top notch, from Carlos Kleiber's golden years as a conductor. Carlos Kleiber (1930-2004) made few studio recordings, so this is very important. But he did have favorite works he recorded in the studio: this "Die Fledermaus", Weber's "Die Freischutz" (1973), Verdi's "La Traviata" (1976), and Wagner's "Tristan und Isolde" (1981), all for Deutsche Grammophon. Kleiber has a superb cast, with Hermann Prey, Julia Varady, and Bernd Weikl in the leading roles. Kleiber favors fast tempos, keeping the flow and motion of the opera moving along, but he knows where to take time when there is a tempo change or for a slower tempo aria.

The sound is very clear, but the bass sounds a little weak, often typical with DG recordings, so a loudness boost may be necessary on some systems. There is spoken dialogue aplenty between numbers, but it is never too much, nor does the overall architecture of the opera sag under it's own weight, often a danger in singspiel operas, where there is alot of spoken dialogue.

I also reviewed Kleiber's DVD "Fledermaus", from 1987 (DG DVD) and this recording has much in common with the later live production with the same orchestra: Bavarian State Opera, but mostly different soloists. I personally prefer Hermann Prey as Eisenstein to Eberhard Waechter; Prey's voice seems more mellow, and he sounds more musical to me than Waechter. However, a direct comparison is hard because this is a STUDIO recording, and the DVD is LIVE.

Whichever Kleiber "Fledermaus" you purchase, you can't go wrong. It all boils down to personal preferences, and if you want an audio (this recording) or DVD format for Strauss's great comic opera.

A true landmark.......2005-06-17

I dare to think this is not only one of the finnest recordings on the operatic world, but the best operetta ever recorded. Carlos Kleiber conducts with spirit, joy and brain the most accurate ensemble of voices and (yes, specially) characters singing and acting superbly Strauss'masterpiece.
Pure and absolute pleasure! Really a must.

An amendment..........2000-12-30

When I last wrote, I compared 3 versions of this beloved opera: the Schwarzkopf version, Te Kanawa version, and this one. Just released is Sutherland's version, with her singing the role of Rosalinde. It's safe to say without hearing the recording that Sutherland was never really great with German (it requires impeccable diction, and everyone who knows of Dame Joan and dislikes her for her diction would be wise to stay away from this recording... Sorry for putting you down Sutherland, but I had to admit to your faults), and her voice is really not suited for Strauss repertoire, nor for the Viennese acting required. The site doesn't tell who the other performers are, but with so many other versions out there (if you go into the german version of Amazon, you'll find loads of Die Fledermaus's, though the singers tend not to be well known) who needs to settle on one set since it just has Dame Joan?

As a further amendment, I didn't talk enough about how great Varady is in the aforementioned role of Rosalinde. She introduced me to another beautiful voice! Hers is very womanly sounding, and quite pure, but has just enough weight to carry off the role to perfection. I can assure you that Sutherland would not come close to this "Klange der Heimat." And to touch some more on Iwan Rebroff, his voice sort of does take getting used to, especially when you're used to a mezzo singing it. I have to say though, it's still sung well, and is quite silly.

Thanks for letting me put in a few more words!

No, there is no better Fledermaus around.......2000-10-16

Carlos Kleiber can be a very difficult man on the podium, but here he is in high spirits and conducts a masterful performance. It's both fiery and fun, but never hard driven. He is lucky to have 2 glorious sopranos in Julia Varady and Lucia Popp who are peerless as Rosalinde and Adele. Varady in particular gives a ravishing performance with commanding vocal security, no other soprano even comes close, not Schwarzkopf, not Gueden and certainly not Te Kanawa. I guess Iwan Rebroff is an acquired taste, personally, I think he is fun and does a very good job. The Munich orchestra is excellent and so is the sound. The Karajan/Decca set with the famous gala is pleasing too, but after listening to this set for 20 years, it is my favourite.

Not a safe choice, but a must for Kleiber admirers.......2000-09-27

The most important aspect of this recording is Kleiber's conducting. His records are so few (three other operas and about a half-dozen symphonic recordings) that even if this set was seriously flawed, it could not be ignored. Fortunately, his conducting mostly captures the spirit of the score, even if there is an emphasis on discipline here that is not apparent in other, Vienna-based recordings of this opera (this set was recorded in Munich, in the legendary Herkules-Saal of the Residenz palace). With one major exception, the cast could hardly be bettered. In particular, the scandalously underrated Julia Varady is outstanding as Rosalinde - and how nice to have a native Hungarian singing the czardas solo in Act II! Similarly, the late Lucia Popp is an inspired choice as Adele. The male lineup (Rene Kollo, Hermann Prey, and Bernd Weikl) is also quite good. The big shortcoming is the casting of the falsetto Iwan Rebroff as Prince Orlofsky. Those coming to this opera anew will probably find his performance amusing, but those who have heard Brigitte Fassbaender on either the Previn or the Boskovsky sets can attest to how much better it is to have a firm mezzo-soprano in this role. The remastered recording is full and well-balanced. Unlike many Deutsche Grammophon recordings of German opera from the 1970s, the star singers, and not actors, are used to speak the dialogue. The set includes two booklets fit into a standard double jewel box. The summary and libretto (with translation) are beyond reproach; unfortunately, as with many reissues in the DG Originals series, the essay concentrates on the performer at the expense of a discussion of the work itself. The mid-price is a big advantage of this set. Choice here lies largely between this recording, Previn, and Boskovsky.

J. Strauss - Die Fledermaus / Te Kanawa, Gruberova, Fassbaender, Bär, Wiener Philharmoniker, Previn

Average customer rating:

This bat can fly!
An Enjoyable Version But Not The Finest
Indecisive!
I agree with the person from Düsseldorf....
A valuable second choice

J. Strauss - Die Fledermaus / Te Kanawa, Gruberova, Fassbaender, Bär, Wiener Philharmoniker, Previn
Johann Strauss II , André Previn , Wiener Philharmoniker , Kiri Te Kanawa , Edita Gruberova , Olaf Bär , Brigitte Fassbaender , Wolfgang Brendel , and Chor der Wiener Staatsoper
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Reds (Special 25th Aniversary Collector's Edition)
Half the Perfect World

ASIN: B00000413I
Release Date: 1991-11-08

Tracks:

Die Fledermaus: Ouverture
Die Fledermaus: Taubchen, das entflattert idt
Die Fledermaus: Da schreibt meine Schwester Ida
Die Fledermaus: Ach, ich darf nicht hin zu dir!
Die Fledermaus: Nein, mitt solchen Advokaten
Die Fledermaus: Komm mit mir zum Souper
Die Fledermaus: So mub allein ich bleiben
Die Fledermaus: Trinke, Liebchen, trinke schnell
Die Fledermaus: Ich hore Stimmem
Die Fledermaus: Mein Herr, Was dachten Sie von mirr
Die Fledermaus: Nein, nein, ich zweifle gar nicht mehr
Die Fledermaus: Act Three - Nr. 13 Melodram - Ein Fideles Gefangnis (Frosch) (Alfred) (Frank) (Adele) (Ida)
Die Fledermaus: Act Three - Nr. 14 Couplets - Spiel Ich Die Unschuld Vom Lande (Adele) (Ida) (Frank)
Die Fledermaus: Act Three - Nr. 15 Terzett - Ich Stehe Voll Zagen (Rosalinde) (Alfred) (Eisenstein)
Die Fledermaus: Act Three - Nr. 16 Finale -O Fledermaus, O Fledermaus (Chor) (Eisentein) (Falke) (Orlofsky) (Adele) (Alfred) (Rosalinde) (Ida)

Tracks:

Die Fledermaus: Ein Souper heut uns winkt
Die Fledermaus: Ich lade gern mir Gaste ein
Die Fledermaus: Ach, meine Herr'n und Damen
Die Fledermaus: Mein Herr Marquis
Die Fledermaus: Dieser Anstand, so mainerlich
Die Fledermaus: Klange der Heimat
Die Fledermaus: Im Feuerstrom der Reben
Die Fledermaus: Herr, Chevalier, ich grube Sie!
Die Fledermaus: Polka: Uter Donner und Blitz, Op.324
Die Fledermaus: Genug damit, genug
Die Fledermaus: Nr. 12 Entr'acte
Die Fledermaus: Ein fideles Gefangis - Edita Gruberova (Adele)
Die Fledermaus: Spiel' ich die Unschuld vom Lande - Edita Gruberova (Adele)
Die Fledermaus: Ich stehe voll Zagen - Edita Gruberova (Adele)
Die Fledermaus: O Fledermaus, o Fledermaus - Edita Gruberova (Adele)

Amazon.com

There may be more cornily entertaining readings of this perennial favorite on CD, but none that is sung more wonderfully. Star turns abound within fine ensemble performances: Kiri Te Kanawa is as involved as one has ever heard her, singing with beautiful, womanly tone and great wit, while Richard Leech's Alfred is both funny and handsomely sung. Brigitte Fassbaender's Orlovsky is truly ambiguous-aristocratic, Edita Gruberova is a high-spirited Adele, and Wolfgang Brendel's Eisenstein is secure and well-drawn. André Previn leads the Vienna State Opera forces with respect for their tradition, and they respond by playing and singing gloriously. Precisely what made the producers decide that the Act II party should be filled with extraneous "party" noises (mumblings, laughter, glasses clinking) is baffling, but it's overlookable. This one's tasty--enjoy! --Robert Levine

Customer Reviews:

This bat can fly!.......2003-04-01

This is a collection of highlights, not the entire operetta. The first five reviews I've read had mixed reactions, but all seemed pleased with this performance.

I found Edita Gruberova's Adele superlative. Just to hear her sing "Spiel' ich die Unschuld vom Lande," is worth the price of the CD. In the "Laughing Song" (Mein Herr Marquis), she smoothly, yet precisely, sings each note, unlike so many sopranos who seem to bark the laughs. Only Janet Perry approaches Gruberova in the quality of singing in this role.

For me, Kiri Te Kanawa practically owns the role of Rosalinde. Few can equal her in any of the arias. You'll believe she's really Hungarian.

Overall, I think you'll find this a beautifully-performed, spirited Fledermaus, where all the performers seem to be having a very good time.

An Enjoyable Version But Not The Finest.......2002-09-17

Everyone has their own opinions regarding recordings of operas and operettas. Die Fledermaus, being the most famous operetta, is subject to numerous interpretations. This particular version has Andre Previn conducting the Vienna State Opera (Staatsoper in German) which has the time-honored tradition of performing the classic operetta every New Years Eve. The chorus and party noises (glass tinkling, laughter, conversations,etc) adds to the realism and liveliness of the ball scene. Previn is a great conductor of classical music, but as for Johann Strauss' Die Fledermaus, whose score features waltz-like, serenades and often French-style cabaret music, is not his cup of tea. The overture is not the finest interpretation. The singers are an ecclectic but formidable bunch. Kiri Te Kenawa, whom I had previously underestimated, sings an excellent Rosalinde, Fassbaender (spelled incorrectly, a woman) sings the role of Prince Orlofsky in a very comedic, brilliant manner and true to the original woman-in-trousers roles that were featured in Opera-buffas of Mozart times. Edita Gruberova, a coloratura soprano, although not at her best, sings a fair Adele and her "Mein Herr Marquis" aria is not as good as her other arias and trio roles. The waltzes and the drinking songs, the intimate dinner scenes and the maddening confusion that happens in Act 2 are all very well made. However, if you wish to buy a less darker, less restrained Die Fledermaus, get the Lucia Popps, Julia Varady version with Carlos Kleiber, noted German conductor who has more of a flair for this sort of music.

Indecisive!.......2000-10-01

I have not listened to this set completely, besides the samples provided by amazon, so I could not fairly give a rating. However from the clips this is no concrete reccommendation. Kiri Te Kanawa is indeed a beautiful soprano, but she sounds a bit flat and uninvolved. Brendel's Einstein is hideous. The performer who seems to be getting slaughtered was actually a very good cast for characterization. Gruberova is always so delightful, it's just that her execution isn't so clean all the time, indeed, it sounds like a bloody mess sometimes. But that is this recording and this operetta, and isn't so in everything she sings, everytime. So she sounds like she's sitting on ice sometimes, it's perfect casting for this operetta and the subsequent atmosphere. The Alfred is very good indeed. Previn conducts this more like a tragic grand opera. I recommend the 1960 Decca recording by Karajan, with the sensational Hilde Gueden as Rosalinde, Waldemar Kmnett, and Erika Koth. Karajan, suprisingly, is very much in the background with the Vienna Philharmonic Orchestra, and there is a wonderful surprise bonus with the Gala Sequence.

I agree with the person from Düsseldorf...........2000-06-15

Although I have not purchased this CD, and have only listened to certain popular selections of it... like "Dieser anstand, so manierlich (Brendel & Te Kanawa)," "Im Feuerstrom de reben (Fassbaender, Gruberova, Brendel)" and the sound sample offered by Amazon of Edita Gruberova singing the Laughing Song ("Mein Herr Marquis"). I don't have anything against the majority of the singers in this cast, except for Gruberova. Gruberova's coloratura is absolutely ghastly when compared to others out there. If you have ever heard her sing "Je veux vivre" from Gounod's Romeo et Juliette you will know what I mean... you just cringe.

However, I do like the directing from Mr. Previn and the wonderful orchestra and party-like atmosphere. And Kiri Te Kanawa is absolutely perfect for the role of Eisenstein's wife.

But... I think the recording with Lucia Popp as Adele is definitely one to have. She has a beautifully elegant, young but womanly tone and can do fantastically precise coloratura. If you have heard her in the role of the Queen of the Night from Die Zauberflöte, there is no comparison. I'm not the only person who raves about her either... she's a fantastic coloratura soprano.

Varady's soprano voice is just fine in Kleiber's Die Fledermaus, and Hermann Prey does fine playing von Eisenstein. The baritone Thomas Allen played in this role just recently at the Lyric Opera in Chicago just a couple of weeks ago and did a fine job. I think a baritone cast in the role is certainly acceptable. Ivan Rebroff plays Prinz Orlovsky and appropriately makes the character what he should be, jovial and silly.

This CD with Te Kanawa and Gruberova certainly does have a star-filled cast and world renowned conductor, orchestra, and chorus... but I believe the recording of Die Fledermaus to own is the one with Kleiber conducting the Bavarian State Opera Chorus and Orchestra and Varady, Prey, and Popp. Plus... It's cheaper!

A valuable second choice.......1999-12-30

This performance of Die Fledermaus is no doubt beautifully performed, especially Fassbaenders aria is a jewel. However, the atmosphere is somehow cool and artificial, Te Kanawa and Gruberova have difficulties with the operetta setting of the plot. Previn does not serve the "champagne", his conducting is somehow a little too operatic. If you like to have a second version of the "bat" in your collection, choose this one or the live performance of the Vienna Volksoper in Japan (Denon). If you only need one version, the choice second to none is the Carlos Kleiber version with Varady / Prey - even if it was only for the quality of the orchestral interpretation (although assigning the role of the prince to a basso singing falsetto - Ivan Rebroff - is a question of taste).

Average customer rating:

Famous Overtures

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Karajan Conducts Grieg & Sibelius

ASIN: B00008CLNU
Release Date: 2003-05-13

Tracks:

Die Zauberflote: Overture
Allegro Con Brio
Sostenuto, Ma Non Troppo - Allegro
Adagio - Molto Vivace
Allegro Marcato, Con Molto Fuoco
Adagio Sostenuto - Allegro Con Fuoco
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Prelude

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Overture
Overture
Prelude
Overture
Overture
Barcarolle
Overture
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Intermezzo Sinfonico - Wolfgang Meyer
Overture
Overture

Average customer rating:

Wonderful!
Adequate but disappointing
Mind-blowing talent, superb recording quality
Opera without tears
Soaring sopranos!

The Three Sopranos

Manufacturer: Atlantic / Wea
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002JB6
Release Date: 1996-11-19

Tracks:

Faust: Opera Medley
'Madame Butterfly': Un Bel Di
TOSCA: Vissi D'arte
La Traviata: Ah Fors' & Lui: Sempre Libera
The Merry Widow: Operetta Medley
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Very Warm For May: All The Things You Are
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La Traviata: Encore: Sempre Libera

Customer Reviews:

Wonderful!.......2007-01-05

3 Beautiful voices...maybe not Moffo or other greates but wonderful! How I wish the divine song All The Things Your Are was sung in harmony. A masterpiece of composition. WHERE IS THE DVD!!!!!

Adequate but disappointing.......2005-12-15

I love sopranos so of course I ordered this CD even though the singers are all b-team performers. I do believe that I listened to a different recording from the one described by the other reviewers. Each of the performers falls flat at least once while trying to reach for a note beyond her range. I felt myself cringe several times. Several of the arrangements are pathetic where the arranger tried accommodate three voices where at most one voice is appropriate. At times each soprano is holding fast to a note that clashes sadly with the other two notes. If you buy this, rerecord the play list. Skip the opening number which is the worst of the lot. DO NOT listen to Sempre Libera. You will weep for the wrong reasons. But by all means do enjoy the show tunes. This is where the ladies shine.

Mind-blowing talent, superb recording quality.......2003-04-26

This may be the cleanest recording of a live concert I've ever heard, making it an exceptional showcase for such beautiful voices. I've heard Cynthia Lawrence live and this CD presents her voice with complete accuracy, preserving every last emotive nuance while still showcasing her thunderous power. (Cassello and Esperian's voices are equally impressive, of course, I've just never seen either one in live performance). Even after playing this CD at least 25 times, I still can't listen to Lawrence's "My Man's Gone Now" without it sending a chill down my spine. With due respects to the Three Tenors, I have to say the ladies put on an even more thrilling show.

Opera without tears.......2001-05-30

This recording is an absolute must. The selection of arias and songs is impeccable and beautifully matched to the singers. Of particular note "O Mio Babbiano Caro" will bring tears to your eyes for sheer exquisite beauty. Also Kathleen Cassello's performance on "Sempre Libera" and "Summertime" will take your breath away with pure crystalline beauty. This performance is a wonderfull way to introduce the novice listener to the world of opera. I find this performance superior to the the much hyped " Three Tenors" and I hope someday a followup performance will be in the works.

Soaring sopranos!.......2000-10-17

I saw the PBS presentation of this concert a few years ago. As a novice opera listener, I was completely impressed and enthralled by the lovely voices of these remarkable vocalists. My only regret is that I cannot find any other recordings featuring these talented performers. This CD is an excellent way to acquaint oneself with many operatic favorites! Get yours today!

Delius: Piano Concerto; Ravel: Jeux d'eau; Debussy: Clair de lune

Average customer rating:

A great Russian pianist of former times.
This series continues and adds a real rarity

Delius: Piano Concerto; Ravel: Jeux d'eau; Debussy: Clair de lune

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

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ASIN: B00007DWLO
Release Date: 2003-01-21

Customer Reviews:

A great Russian pianist of former times........2003-07-02

Unlike Artur Schnabel, who scorned the giving of encores at his recitals, Benno Moiseiwitsch was very generous in providing delectable extras at the end of his recitals. I can remember such recitals, the delight that Moiseiwitsch took in sharing favorite miniatures with his audience and, in particular, Moiseiwitsh as soloist in the best performance I have ever heard of Beethoven's Emperor Concerto.

This concerto is not heard here, but there is a sympathetic and lyrical performance of the rarely heard Delius Piano Concerto. The rest of the program comprises a cosmopolitan and interesting collection of smaller recital pieces, recorded between 1925 and 1950. Listen to the slightly abridged performance of Godowsky's "Die Fledermaus" concert paraphrase and you'll think you are listening to several pianists and several pianolas at work. I especially like the cultured, controlled performance of Debussy's "Clair de lune". Audio quality, sometimes of demonstration quality at the time the recordings were first issued, is top class in this Ward Marston restoration. Sometimes more surface noise is heard than in other reissues of these items, but that makes me feel (and believe) that I am hearing a full reproduction of the original recording. This is the sixth Moiseiwitsch CD in a Naxos "Great Pianists" series, a series I can heartily recommend.

This series continues and adds a real rarity.......2003-02-25

This is the sixth of the Moisewitsch reissues on Naxos. It contains mostly short pieces often played by him as encores. This release contains a couple of high points, for me. The Ravel 'Jeux d'eaux,' while not one of my favorite pieces, is played to a fare-the-well here by Moisewitsch.

By far the most interesting thing here is the Delius Piano Concerto with Constant Lambert conducting the Philharmonia Orchestra, recorded in 1946. First of all, the Delius is a rarity in itself. Second, Moisewitsch, who championed this concerto throughout his career, plays it lovingly and makes as much as can be made of this admittedly somewhat loosely constructed piece. And if you're a Delius fan - and you know who you are - you must have this performance.