Tchaikovsky: Eugen Onegin

On this CD:

1. Eugene Onegin, opera, Op. 24
Composed by Pyotr Il'yich Tchaikovsky
Performed by Vienna State Chorus and Orchestra with Anton Dermota, Gottlob Frick, Peter Klein, George London, Leonie Rysanek
Conducted by Berislav Klobucar

Tracks:

Eugen Onegin: Seite 1 - Erster Akt - Erstes Bild - Einleitung
Eugen Onegin: Erster Akt - Erstes Bild - Slikhali I vi za roschei glas nochnoi (Duet and Quartett)
Eugen Onegin: Erster Akt - Erstes Bild - Bolyat moyi skori nozhenski so pokhodushki - Uzh kak po mostu, mostochku (Chor und Tanz der Schnitter)
Eugen Onegin: Erster Akt - Erstes Bild - Kak ya lyublyu pod zvuki pesen etikh - Uzh kak po mostu, mostochku (Szene and Arie der Olga)
Eugen Onegin: Erster Akt - Erstes Bild - Nu ti, moya vostrushka (Szene)
Eugen Onegin: Erster Akt - Erstes Bild - Mesdames! Ya na sebya vzyal smyelost - Skazhi, kotoraya Tatyana (Szene and Quartett)
Eugen Onegin: Seite 2 - Erster Akt - Erstes Bild - Kak shchastliv, kak shchastliv ya! - Ya lyublyu vas (Szene und Arioso des Lenski)
Eugen Onegin: Erster Akt - Erstes Bild - A, vot i vi! (SchluB-Szene)
Eugen Onegin: Erster Akt - Zweites Bild - Nu, zaboltalas ya! (Introduction and Szene)
Eugen Onegin: Erster Akt - Zweites Bild - Puskai pogibnu ya, no pryezhde (Brief-Szene)
Eugen Onegin: Seite 3 - Erster Akt - Zweites Bild - Akh, noch minula
Eugen Onegin: Seite 3 - Erster Akt - Drittes Bild - Dyevitsi, krasavitsi (Chor de Madchen)
Eugen Onegin: Seite 3 - Erster Akt - Drittes Bild - Zdyes on, zdyes on Yevgeni! - Kogda bi zhizn domanshnim krugom (Szene und Aire des Onegin)

Tracks:

Eugen Onegin: Seite 4 - Zweiter Akt - Erstes Bild - Vot tak syurpriz! (Zwischenakt und Walzer mit chor)
Eugen Onegin: Seite 4 - Zweiter Akt - Erstes Bild - Uzhel ya zasluzhil ot vas nasmyeshku etu? - A cette fete convies (Szene und Couplets des Triquet)
Eugen Onegin: Seite 4 - Zweiter Akt - Erstes Bild - Messieurs, mesdames, mesta zanyat izvolte - Ti ne tantsuyesh, Lenski? (Mazurka and Szene)
Eugen Onegin: Seite 4 - Zweiter Akt - Erstes Bild - V vashem dome! V vashem dome! (Finale)
Eugen Onegin: Seite 5- Zweiter Akt - Zweites Bild - Nu, shto zhe? - Kuda, kuda, kuda vi udalilis (Introduktion, Szene und Arie des Lenski)
Eugen Onegin: Seite 5- Zweiter Akt - Zweites Bild - A, vot oni! (Duell-Szene)
Eugen Onegin: Seite 5- Dritter Akt - Erstes Bild - Polonaise
Eugen Onegin: Seite 6 - Dritter Akt - Erstes Bild - I zdyes mnye skuchno! - Knyaginya Gremina! Smotrite! (Szene und Arie des Fursten Gremin)
Eugen Onegin: Seite 6 - Dritter Akt - Erstes Bild - Lyubvi vsye vozrasti pokorni
Eugen Onegin: Seite 6 - Dritter Akt - Erstes Bild - Itak, poidyom, tebya predstavlyu va - Uzhel ta samaya Tatyana (Szene und Arioso des Onegin)
Eugen Onegin: Seite 6 - Dritter Akt - Zweites Bild - O! Kak mnye tyazhelo! - Onegin! Ya togda molozhe (SchluB-Szene)

Amazon.com essential recording

Levine has assembled a cast strong in both singing and acting, although Mirella Freni is a bit mature for the teenage Tatiana and there are no Russians in the leading roles. The conducting quite properly emphasizes the psychological and emotional extremes in a story deeply imbued with the Byronic attitudes and poses of literary Romanticism. The orchestra, in James Levine's (and Tchaikovsky's) hands becomes a character in this drama as vital as any of the singers, and Pushkin's poem-novel, the source of the opera, can be felt with unusual clarity underlying this interpretation. --Joe McLellan

Customer Reviews:

A Distinguished Cast for EUGENE ONEGIN.......2007-02-27

This excellently produced 1987 DG recording, conducted by James Levine with an energetic chorus and orchestra, can be recommended without hesitation to the newcomer to Tchaikovsky's Romantic EUGENE ONEGIN. The cast's principals were all leading exponents onstage of their roles in the opera; as heard here they have many virtues, few faults, and make a fine company.

Mirella Freni, fifty-three years old in 1987, is not always ideally steady. However, her voice had retained its radiance, and this quality goes a long way toward suggesting Tatyana's youth, innocence, and sensitivity. In the last act, Freni's mature artistry translates into Tatyana's newfound poise and self-assurance as the wife of Prince Gremin. Thomas Allen lives up to his reputation for making difficult characters, like Eugene Onegin, interesting and ultimately sympathetic; and though his Onegin can be cold indeed - just listen to his interaction with Freni's Tatyana in Act I, scene three (end of CD #1) -- the voice itself is always warm, beautifully balanced, and easy on the ear. (Allen's Count Almaviva in the classic Solti LE NOZZE DI FIGARO is very like this Onegin: a cold characterization warmly sung.) Neil Schicoff, with his "nervy" but attractive tenor, embodies the hypersensitive Lensky. Though it is possible to imagine a more elegant or a more quietly melancholic interpretation of the poet, Schicoff's portrayal here is superb; he has made the role his own. This was an early recording for Anne Sofie von Otter. Her singing as Olga is a joy, her high mezzo completely devoid of the lugubriousness unsuitable for, yet too often heard in, the role of Tatyana's flighty sister. Paata Burchulaadze is an above-average Gremin with a full, resonant low F-sharp at the end of his aria. The wonderful French character tenor Michel Senechal sings Monsieur Triquet's couplets with charm and sweet tone. James Levine conducts a "big," weighty performance. While this approach is arguably inappropriate for such a delicate work as EUGENE ONEGIN, the results are undeniably exciting and emotional - reflecting, perhaps, Tchaikovsky's own suffering at the time of the opera's composition (see Mark Swed's review in THE METROPOLITAN OPERA GUIDE TO RECORDED OPERA for more on Levin's approach).

Which Onegin to buy, Levine or Bychkov?.......2007-02-03

When The Gramophone gave a lukewarm review to Levine's 1989 Eugene Onegin and a rave to the 1993 set under Semyon Bychkov, I felt a healthy skepticism. How a magazine solely devoted to classical listening could hire writers with such lamentably bad ears is beyond me. So I decided to investigate for myself. Without a doubt these are the two leading versions of Tchaikovsky's most famous opera. Ironically, considering that he has sniffed out many rarely heard Russian operas, Valery Gergiev wasn't given the chance to record the second most famous Russian opera, after Boris Godunov; Philips gave the nod to Bychkov instead.

Levine/ Dresden: This is a non-Russian reading with a stellar international cast (British, Italian, American), replicating a great night at the Met in the late Eighties, only transferred to Dresden. The advantages of having world-class musicians at every level, from Levine's truly exceptional conducting to the Staatskapelle's gorgeous orchestral sound and the casting of Freni, Allen, and Shicoff, are unmatched by any rivals. And every singer is in fine voice. How anyone could rate this set below the highest is a mystery to me. Even the German chorus sounds totally Slavic, but then, it helps that 999 out of a thousand Western listeners don't know a syllable of Russian (beyond nyet and da). Our willingness to hear unidomatic singers is one of the reasons Onegin has been so often performaed in the West without benefit of Slavic voices.

What really matters is dramatic conviction, and here again the Levine set is unequalled outside Russia. Tchaikovsky's score is musically static compared to Verdi, with many intimate scenes and inward emotions. Melodies are spun out slowly over long stretches. Therefore, it's vital to have a conductor and singers who bring inner vibrancy to every bar. Levine, Freni, Shicoff, and Allen do just that. I couldn't tear myself away, which wasn't the case listening to the Bychkov set. The one minus cited by many critics has to do with Freni's age, but she's in great voice and frankly sounds as young as anyone could wish without being girlish. Her counterpart on the Bychkov set, Nuccia Focile, sounds fresher but is nowhere near the artist that Freni is. In sum, this is one of Levine's real (and surprising) triumphs on disc.

Bychkov/ Paris -- I am an admirer of Semyon Bychkov, particularly in his early days when he shot to prominence conducting the Berlin Phil. and, as here, the Orchestre de Paris, but his skillful management of the score is underpowereed and at times slack compared to Levine. The melodic line is allowed to languish, however prettily, too often. His orchestra is quite good--it's not recorded in the best sound by Philips--yet it lacks the special finesse and glow of the Dresden group.

The main reason that critics swooned over this set comes down to one name: Dmitri Hvorostovsky. Onegin is his signature role, as Boris Godunov was for Christoff, and he makes the most of it. With his matinee-idol looks, DH is a smash onstage; moreover, he bothers to act with his voice here (as he rarely does in Verdi, Mozart, or sometimes in Russian roles). With his perfeclty even vocal production and superb dramatic inflections, no better, more alluring hero can be imagined.

But the superiority of the singing stops there. Focile gives us a fine Tatyana, but her voice is rather edgy, especially as recorded by Philips. Neil Shicoff repeats his excellent Lensky (another signature role) from the Levine set, but he's notably less fresh and ardent. In fact, Shicoff provides a touchstone for comparison. Listen to any passage where he appears, and see if Levine doesn't bring out much the best in him compared to Bychkov.

Much more could be said about both these esteemed sets, yet this is one case where the dark horse wins the race. I plump for the Levine recording on all counts except Hvorostovsky. He has countless fans, and his Onegin proves that he deserves them. For overall musical pleasure, however, the Philips recording comes in second.

A Beautiful And Exciting Eugene.......2006-02-03

This studio recording made in the early to mid 90's is a stunning account of Tchaikovsky's popular opera Eugene Onegin, despite several critics' comments regarding how this is not the right way to sing Onegin. The beauty of this recording lies in the marriage of both dramatic and beautiful singing. The men, in particular, are executing marvelous arias and dramatic scenas. True, the cast is not Russian and therefore may not have command of Russian diction, but this is alright with me, having never considered the Russian/Slavic accent a beautiful one. It's harsh, invective-style and plain ugly. However, in the hands of a few singers, such as these ones, Russian opera can sound wonderful. The only other truly grand Russian opera singer who sung with beauty and dramatic power was Galina Vishnevskaya, and if she sang Tatiana, it's a loss to us that she didn't record it. Mirella Freni as Tatiana is a revelation. Though she doesn't have the assets she had as a young singer- in the heady days of her career she could sing great Susannas, Violettas, Nanettas, Micaelas, Juliettes and even Queen Elisabeth Di Valois in Don Carlo- she sings with enormous passion. She boils over with ardor and yearning for Onegin. Never a more dramatic Tatiana are you ever to find. Freni sang this difficult, demanding role in the final days of her career. She learned to sing Tchaikovsky opera (other than Tatiana she also sang the heroine in Queen of Spades) from none other than the great Russian bass Nicolai Ghiurov, who was her husband prior to his death of cancer a few years ago. Mirella Freni's voice is an example of lyrico-spinto, eventhough in this recording, as in her 1991 Tosca with Domingo and Ramey, she sounds forced and the role evidently took a strain on her. However, the fact she had the guts to take on this role is evidence of her versatility as an artist.

Paschal Allen sings Eugene Onegin. His portrayal is at once that of a tragic, romantic figure. Enough has already been said about how he masterfully hits that sustained high note at the end of the Part Scene/Act. The great Neil Shicoff sings an expressive and dramatic Lensky. This is one of his best roles, and if you want to hear another superb performance of his check out his Eleazar from Halevy's La Juive. Paata Burchuladze was a versatile bass artist who could sing Verdi and, as you can plainly see, Russian opera. What a fine modern recording of Eugene Onegin this is. A more dramatic and beautiful one you are hard-pressed to find.

good.......2002-08-12

A very good performance from all but to me the Solti version is number one. Stuart Burrows as Lensky is melting. His aria makes me cry every time. Nothing compares.

I must admit to buying it to see if I felt the same but it didn't quite hit the note for me. Nevertheless,it is good, but not quite what I wanted to hear.

much better than other non-Russian.......2002-02-24

I must differ to the previous opinion. Russian of the main singers is bearable enough, especially comparing to the Solti interpretation that sounds really strange. I mean pretty strange conducting, strange choose for the singers, and dreadful, unprofessionally sounding Russian. I can point out just two strong points of that interpretation, which are Giaurov as Gremin and thorough booklet. Otherwise Levine's CD is fine. Probably, Freni is the best Tatiana recorded ever, Shikoff is fabulous (just compare with Burrows!), Levine conducts agreeably, and the record is beautifully scaled. Anyway, I'd prefer entirely Russian interpretation. I am sorry about that.

Nessun dorma ~ The Art of the Tenor / Dominigo, Pavarotti, Carreras, Wunderlich, Bergonzi...

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Nessun dorma ~ The Art of the Tenor / Dominigo, Pavarotti, Carreras, Wunderlich, Bergonzi...
Claudio Monteverdi , George Frideric Handel , Jean-Philippe Rameau , Wolfgang Amadeus Mozart , Gioachino Rossini , Gaetano Donizetti , Giuseppe Verdi , Giacomo Meyerbeer , Jacques Offenbach , Georges Bizet , Pyotr Il'yich Tchaikovsky , Ruggero Leoncavallo , Giacomo Puccini , Berlin Philharmonic Orchestra , London Symphony Orchestra , Vienna Philharmonic Orchestra , Metropolitan Opera Orchestra , Orchestre National de France , Dresden Staatskapelle , Marc Minkowski , Claudio Abbado , James Levine , Carlo Maria Giulini , Seiji Ozawa , Herbert von Karajan , Richard Croft , Jean-Paul Fouchécourt , Anthony Rolfe Johnson , English Baroque Soloists , Luciano Pavarotti , Les Musiciens de Louvre , José Carreras , Plácido Domingo , Eugen Jochum , Fritz Wunderlich , Karl Böhm , and Christoph Prégardien
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004THBZ
Release Date: 2000-09-12

Tracks:

L'Orfeo: 'Rosa Del Ciel' - Anthony Rolfe Johnson
Ariodante: 'Tu Vivi, E Punito' - Richard Croft
Hippolyte Et Aricie: 'Ah! Faut-Il, En Un Jour, Perdre Tout Ce Que J'Aime?' - Jean-Paul Fouchecourt
Die Entfuhrung Aus Dem Serail: 'Wenn Der Freude Tranen Fliessen' - Fritz Wunderlich
Don Giovanni: 'Dalla Sua Pace' - Christoph Pregardien
Die Zauberflote: 'Dies Bildnis Ist Bezaubernd Schon' - Fritz Wunderlich
Il Barbiere Di Siviglia: 'Ecco, Ridente In Cielo' - Luigi Alva
L'Italiana In Algeri: 'Oh, Come Il Cor Di Giubilo' - Frank Lopardo
L'elisir D'amore: 'Una Furtiva Lagrima' - Luciano Pavarotti
Rigoletto: 'La Donna E Mobile' - Luciano Pavarotti
Aida: 'Se Quel Guerrier'... 'Celeste Aida' - Placido Domingo
La Traviata: 'Lunge De Lai'... 'De' Miei Bollenti Spiriti' - Luciano Pavarotti
L'Africaine' 'Pays Merveilleux'... 'O Paradis' - Placido Domingo
Les Contes D'Hoffmann: 'Il Etait Une Fois A La Cour D'Eisenach' - Placido Domingo
Carmen: 'La Fleur Que Tu M'Avais Jetee' - Jose Carreras
Eugene Onegin: 'Kuda, Kuda, Kuda Vi Udalilis' - Neil Shicoff
Pagliacci: 'Recitar!'... 'Vesti La Giubba' - Carlo Bergonzi
Tosca: 'E Lucevan Le Stelle' - Jose Carreras
Turandot: 'Nessun Dorma' - Placido Domingo

Amazon.com

Who would have guessed that 10 years after it became the theme tune for the 1990 Football World Cup, "Nessun Dorma" would still be doing good business? And if tenors show no sign of going out of vogue, this DG production with 19 arias from 12 great tenors will help to keep the ball rolling. Yes, the Three Tenors are here--Domingo, Pavarotti, and Carreras--but so are figures such as Fritz Wunderlich and Carlo Bergonzi. And how marvelous to see that most intelligently musical British tenor Anthony Rolfe Johnson opening the CD. But that's not all. Lurking in the digital depths is interactive CD-ROM material that lets you play the music on your PC while studying the score, make your own interpretations in MIDI format, edit the score to your own liking, and make high-quality printouts. There is extensive information on each piece, including all words and translations (you can choose English, French, German, or Spanish) and brief biographies of the performers. This all comes with a comprehensive Help file. The cover is strangely modest about the multimedia element--to get all this added value for no more than the price of a normal audio CD seems extraordinary. --Keith Clarke

Peter Ilyich Tchaikovsky: Symphony No. 6 "Pathétique"; Polonaise from Eugen Onegin

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Dohnanyi's PATHETIQUE is cool and Classical, but very fine
Puts the "chrome" in chromatic
Fine, but with some reservations.

Peter Ilyich Tchaikovsky: Symphony No. 6 "Pathétique"; Polonaise from Eugen Onegin

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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Tchaikovsky: Symphony No. 5
Beethoven: Symphonies No. 5 & No. 7

ASIN: B000003CTY
Release Date: 2002-04-23

Tracks:

Symphony No. 6, Op. 74 'Pathetique' In B Minor: Adagio... Andante mosso
Symphony No. 6, Op. 74 'Pathetique' In B Minor: Allegro con grazia
Symphony No. 6, Op. 74 'Pathetique' In B Minor: Allegro molto vivace
Symphony No. 6, Op. 74 'Pathetique' In B Minor: Finale. Adagio lamentoso - Andante
Eugen Onegin, Op. 24: Polonaise

Customer Reviews:

Dohnanyi's PATHETIQUE is cool and Classical, but very fine.......2006-04-29

Christoph von Dohnanyi recorded Tchaikovsky's farewell opus in 1986 with the Cleveland Orchestra sounding terrific in Telarc's recording. I have read criticisms of this recording as being too cool and Classical, not "heart on sleeve" enough to serve Tchaikovsky's "Pathetique", but on listening to it, find it more than acceptable and quite fine. George Szell would have conducted this work as Dohnanyi did, had Szell recorded it. (Szell did record Tchaikovsky's Symphony 4 with the London Symphony for Decca, and Symphony 5 with the Cleveland Orchestra for Columbia: now Sony Classical).

Dohnanyi does not use excesses in nuance, slowing down or speeding up tempos, or other expressive devices to make points. He rather gets out of the way, and lets the Cleveland Orchestra play Tchaikovsky. I do not find Dohnanyi at all cold: he is just not the interpreter who puts his own personalized stamp on this piece, as did Bernstein (Sony, DG), Furtwangler (DG, Classica d'Oro), or Stokowski (RCA). (Bernstein and Furtwangler may be easier to find than Stokowski, which was released here in a multi disc set of his RCA recordings in the late 1990s but has since been deleted).

For those who prefer other conductors in Tchaikovsky's PATHETIQUE there are recordings of Ormandy (Sony), Bernstein (Sony or DG), Abbado/Vienna (DG: NOT the Chicago recording, on CBS), Ashkenazy (Decca), Furtwangler (DG: multi disc set; or CDO: historical mono recordings from ca. 1938), Wit (Naxos) and Slatkin (RCA). But you won't go wrong with Dohnanyi unless you insist on a more emotional, heart on sleeve recording.

Puts the "chrome" in chromatic.......2006-03-14

This is a very skilled and technically accurate recording of the 6th symphony. Imagine setting the score in front of an orchestra made up entirely of robots, and getting the kind of tight, polished performance you would expect. But this is the last thing we want with Tchaikovsky. Let's face it, one of the things we love most about him is that he was something of a drama queen. Usually the Pathetique runs the emotional gamut with all its rapture, rage and despair, but this time--not really. One of my favorite recordings is James Levine's, which was also done in the 80's, but unfortunately it isn't as readily available.

Fine, but with some reservations........2003-01-26

Here's a fairly well balanced , songful Pathetique executed with technical aplomb. The first movement unfolds in grand style. The beauty, the urgency, the passages that blaze, the moments where rising and falling chords are juxtaposed, the quieter, reflective pauses---everything is characterized in virtually ideal fashion. Next, I've never heard a better played, more musical second movement waltz. The third movement march, I feel, should have been played more tightly and forcefully. In the final movement, Dohnanyi falls somewhat short in terms of plumbing the depths of despair. Again, as with the third movement, some intensity is missing. You don't really get the feeling of drive and fervor projected by Mravinsky. Overall, however, the level of play of the Cleveland Orchestra is consistently very fine and, to some extent, a nice compensating factor considering the partial voltage deficit in Dohnanyi's interpretation. Incidentally, both orchestra and conductor offer a solid account of the Polonaise from Eugen Onegin, a pleasant change from the commercially overexposed Romeo and Juliet. Soundwise, the recording is fine.

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Tchaikowsky: Eugen Onegin

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

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ASIN: B000B0WOGC
Release Date: 2005-09-27

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Lotte Lehmann in her Prime

The Young Lotte Lehmann

Manufacturer: Preiser Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

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ASIN: B0000023QC
Release Date: 1995-02-07

Tracks:

Der Freischutz: Wie Nahte Mir Der Schlummer
Der Freischutz: Alles Pflegt Schon Langst Der Ruh'
Tannhauser: Dich, Teure Halle
Tannhauser: Allmacht'ge Jungfrau
Lohengrin: Einsam In Truben Tagen
Lohengrin: Euch Luften, Die Mein Klagen
Lohengrin: Du Armiste Kannst Wohl Nie Ermessen
Faust: Es War Ein Konif In Thule
Faust: Er Liebt Mich
Faust: Auf Eilet! Auf Eilet! - Lotte Lehmann/Robert Hutt/Michael Bohnen
Die Meistersinger Von Nurnberg: Gut'n Abend, Meister! - Lotte Lehmann/Michael Bohnen
Die Meistersinger Von Nurnberg: O Sachs! Mein Freund!
Die Walkure: Der Manner Sippe Sass Hier Im Saal
Die Walkure: Du Bist Der Lenz
Die Toten Augen: Psyche Wandelt Durch Saulenhallen
Morgen!
Cacilie

Tracks:

Figaros Hochzeit: Heil'ge Quelle Reiner Triebe
Figaros hochzeit: O Saume Langer Nicht
Der Freischutz: Und Ob Die Wolke Sie Verhulle
Oberon: Ozean, Du Ungeheuer
Undine: So Wisse, Dass In Allen Elementen
Die Judin: Er Kommt Zuruck!
Carmen: Ich Sprach, Dass Ich Furchtlos Mich Fuhle
Hoffmanns Erzahlungen: Sie Entfloh, Die Taube
Der Widerspenstigen Zahmung: Es Schweige Die Klage
Eugen Onegin: Sag', Bist Als Schutzgeist Du Gesendet
Othello: Sie Sass Mit Leide Auf Oder Heide
Manon: Leb' Wohl, Mein Liebes Kleines Tischchen
Der Rosenkavalier: Kann Mich Auch An Ein Madel Erinnern
Die Tote Stadt: Der Erste, Der Lieb' Mich Gelehrt

Tracks:

Figaros Hochzeit: Ihr , Die Ihr Triebe Des Herzens Kennt
Figaros Hochzeit: So Lang Hab' Ich Geschmachtet - Lotte Lehmann/Heinrich Schlusnus
Don Juan: Reich Mir Die Hand Mein Leben - Lotte Lehmann/Heinrich Schlusnus
Die Zauberflote: Bei Mannern, Welche Liebe Fuhlen - Lotte Lehmann/Heinrich Schlusnus
Die Lustigen Weiber Von Windsor: Nun Eilt Herbei
Mignon: Kennst Du Das Land
Mignon: Ihr Schwalben In Den Luften - Lotte Lehmann/Heinrich Schlusnus
Mignon: Dort Bei Ihm Ist Sie Jetzt
Manon: Folget Dem Ruf, So Lieblich Zu Horen
La Boheme: Man Nennt Mich Jetzt Mimi
Madame Butterfly: Uber Das Meer Und Alle Lande
Madame Butterfly: Eines Tages Seh'n Wir
Schwester Angelica: Ohne Mutter, Bist Du Kind, Gestorben
Schwester Angelica: O blumen, Die Ihr Gift Im Kelch Verschliesset
Manon Lescaut: Ach, In Den Kalten Raumen Hier
Tosca: Nur Der Schonheit Weiht' Ich Mein Leben
Der Spielmann

Customer Reviews:

Lotte Lehmann in her Prime.......2006-07-08

Lotte Lehmann is one of the great German sopranos of the Twentieth Century. For many years, from her creation of the role of the Composer in the revised version of Richard Strauss's "Ariadne auf Naxos" in 1916 up to her departure in 1937 prior to the Nazi occupation of Austria, she was a star at the Vienna State Opera and a darling of the Viennese audience. She was also enthusiatically received at the Royal Opera House Covent Garden, as well as the Metropolitan Opera in New York.

During the years of her prime Lehmann created a couple of Strauss's operatic heroines, including the Dyer's Wife in "Die Frau Ohne Schatten" and Christine in "Intermezzo." She also sang a great variety of roles ranging from Wagner's romantic heroines to the Italian verisimo parts by Giordano and Puccini. Puccini was said to have been one of her bigget admirers, especially for her renditions of Mimi in La boheme and Suor Angelica. However, her most famous roles were the Marshallin in Strauss's "Der Rosenkavalier" and Sieglinde in Wagner's "Die Walkure." This Preiser issue documents accoustic recordings of nearly all her more renowned roles, made between 1914 and 1925.

Although Lehmann later made more amenable electrical recordings of many of the arias here, as well as excerpts from "Der Rosenkavalier" and Acts One and Two of "Die Walkure," these accoustic recordings more often than not show her in fresher voice with a joyous freedom on top. Her hallmarks as a singing-actress, such as her always vivid enunciation of the text and her great variety of tonal colors and moods, are also evident even in the earliest of these recordings.

This set is one of the gems in Preiser's famous historic singers series and anyone interested in operatic singing should consider investing in this set. The CD transfer unavoidably contains some surface noise but the vibrancy and color of Lehmann's voice are faithfully recaptured.

Tchaikovsky - Eugen Onegin - Boris Khaikin (2 CDs)

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Tchaikovsky - Eugen Onegin - Boris Khaikin (2 CDs)

Manufacturer: Melodiya
ProductGroup: Music
Binding: Audio CD
ASIN: B0006OGXLU

Product Description

PYOTR IL'ICH TCHAIKOVSKY (1840-1893). Eugene Onegin. Valentina Petrova, soprano, Larina; Galina Vishnevskaya, soprano, Tatyana (her daughter); Larissa Avdeyeva, contralto, Olga (her daughter); Evgenia Verbitskaya, mezzo-soprano, Filippeyevna (the nurse); Evgeni Belov, baritone, Eugene Onegin; Sergei Lemeshev, tenor, Lensky; Ivan Petrov, bass, Prince Gremin; Georgi Pankov, bass, Company Commander; Igor Mikhailov, bass, Zaretsky; Andrei Sokolov, tenor, Triquet (a french tutor). The Bolshoi Theatre soloists, Chorus and Orchestra. Conductor Boris Khaikin. Recorded in 1955.

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Tschaikowsky: Eugen Onegin

Manufacturer: Orfeo D'or
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music
ASIN: B0002YLCK6
Release Date: 2004-09-28

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Operatic Arias

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Arias | Opera & Vocal | Styles | Music

General | 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
ASIN: B000000WPC
Release Date: 1995-02-28

Tracks:

Don Giovanni: Dalla Sua Pace
Don Giovanni: Il Mio Tesoro
Die Entfuhrung: Konstanze, Konstanze
Die Zauberflote: Bildnisarie
Die Walkure: Wintersturme Wichen
Eugene Onegin: Lensky's Aria
Der Trompeter Von Sakkingen: Behut' Dich Gott
Martha: Ach So Fromm
Martha: Wie Das Schnattert
La Traviata: Brindisi
La Traviata: De Miei Bollenti Spiriti
I Pagliacci: Prologue
Tosca: Recondit Armonia
Tosca: E Lucevan Le Stelle
Turandot: Non Piangere Liu
Turandot: Nessun Dorma
Tiefland: Zwei Vater Unser
Tielfland: Schau Her
Der Vogelhandler: Nightingale Song
Der Zigeunerbaron: Als Flotter Geist
Der Zigeunerbaron: Wer Uns

Tschaikovsky: Symphony 5 in E minor OP.64/ Eugen Onegin Polonaise Recorded 10/28/1945

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Tschaikovsky: Symphony 5 in E minor OP.64/ Eugen Onegin Polonaise Recorded 10/28/1945
Tchaikovsky , Rodzinsky , and New York Philharmonic Orchestra
Manufacturer: As. Disc
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B00008EPD0
Release Date: 1993-08-16