Nicolai Gedda

On this CD:

1. Cantata No. 55, "Ich armer Mensch, ich Sündenknecht," BWV 55 Recicative and Aria, Erbarme dich
Composed by Johann Sebastian Bach
Performed by Hermann Reutter, Nicolai Gedda, Aurele Nicolet

2. Cantata No. 96, "Herr Christ, der einge Gottessohn," BWV 96 Aria, Ach, ziehe die Seele
Composed by Johann Sebastian Bach
Performed by Hermann Reutter, Nicolai Gedda, Aurele Nicolet

3. Scenes (2) From Lacrimas, for voice & piano, D. 857 (Op. posth. 124) Lied des Florio
Composed by Franz Schubert
Performed by Hermann Reutter, Nicolai Gedda

4. Der Schiffer ("Im winde, im Sturme befahr' ich den Fluss"), song for voice & piano, D. 536 (Op. 21/2)
Composed by Franz Schubert
Performed by Hermann Reutter, Nicolai Gedda

5. Du bist die Ruh, song for voice & piano, D. 776 (Op. 59/3)
Composed by Franz Schubert
Performed by Hermann Reutter, Nicolai Gedda

6. Wandrers Nachtlied ("Über allen Gipfeln ist Ruh"), song for voice & piano, D. 768 (Op. 96/3)
Composed by Franz Schubert
Performed by Hermann Reutter, Nicolai Gedda

7. Die Allmacht ("Gross ist Jehovah"), song for voice & piano, D. 852 (Op. 79/2)
Composed by Franz Schubert
Performed by Hermann Reutter, Nicolai Gedda

8. Nell, song for voice & piano in G flat Major, Op. 18/1
Composed by Gabriel Faure
Performed by Hermann Reutter, Nicolai Gedda

9. Ici-Bas!, song for voice & piano in F sharp Minor, Op. 8/3
Composed by Gabriel Faure
Performed by Hermann Reutter, Nicolai Gedda

10. Airs chantés, song cycle for voice & piano, FP 46 Air grave
Composed by Francis Poulenc
Performed by Hermann Reutter, Nicolai Gedda

11. Airs chantés, song cycle for voice & piano, FP 46 Air champêtre
Composed by Francis Poulenc
Performed by Hermann Reutter, Nicolai Gedda

12. À sa guitare, for voice & guitar (or harp/piano), FP 79
Composed by Francis Poulenc
Performed by Hermann Reutter, Nicolai Gedda

13. Banalités, song cycle for voice & piano, FP 107 Voyage à Paris
Composed by Francis Poulenc
Performed by Hermann Reutter, Nicolai Gedda

14. Epitaph für einen Dichter Faulkner, for voice & piano
Composed by Hermann Reutter
Performed by Hermann Reutter, Nicolai Gedda

15. Liebeshymnus ("Heil jenem Tag"), song for voice & piano (or orchestra), Op. 32/3
Composed by Richard Strauss
Performed by Hermann Reutter, Nicolai Gedda

16. Die Nacht ("Aus dem Walde tritt die Nacht"), song for voice & piano, Op. 10/3
Composed by Richard Strauss
Performed by Hermann Reutter, Nicolai Gedda

17. Freundliche Vision ("Nicht im Schlafe hab' ich das geträumt"), song for voice & piano (or orchestra), Op. 48/1
Composed by Richard Strauss
Performed by Hermann Reutter, Nicolai Gedda

Nicolai Gedda, Music, Johann Sebastian Bach, Gabriel Faure, Francis Poulenc, Hermann Reutter, Franz Schubert, Richard Strauss, Aurele Nicolet, Hermann Reutter, Nicolai Gedda, 20th/21st Century Music for Voice and Keyboard, Cantata, Choral, Classical, Classical Artists, Classical Music, Classical Vocals, Romantic Music for Voice and Keyboard, Solo for Voice and Guitar, Song Cycle for Solo Voice and Piano, Vocal, Vocal Music

Rossini: The Barber of Seville (Complete opera); Beverly Sills; Nicolai Gedda; James Levine; London Symphony Orchestra
Average customer rating:

A charming, humane, thoroughly enjoyable Barbiere

Recorded too late

A real joy

Rossini Does it Again

A Misfire

Rossini: The Barber of Seville (Complete opera); Beverly Sills; Nicolai Gedda; James Levine; London Symphony Orchestra
Beverly Sills , Sherrill Milnes , Ruggero Raimondi , Gioacchino Rossini , James Levine , and London Symphony Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Bizet: Carmen (Complete Opera); Mirella Freni; Jon Vickers; Grace Bumbry

Puccini: Tosca (1953) with Callas, di Stefano, Gobbi, cond. by de Sabata

Bizet: Carmen (complete opera) with Maria Callas, Nicolai Gedda, Georges Pretre, Paris Opera Orchestra

Verdi: La Traviata / Sills, Gedda, Panerai; Ceccato

Verdi - Rigoletto / Sutherland, Pavarotti, Milnes, LSO, Bonynge

ASIN: B0000CE7FU
Release Date: 2004-06-01

Tracks:

Overture
Piano, Pianissimo, Senza Parlar
Ecco Ridente In Cielo
Ehi, Fiorello
Mille Grazie, Mio Signore
Gente Indiscreta!
La Ran La Le Ra...Largo Al Factotum
Ah, Che Bella Vita!
Non E Venuto Ancora
Le Vostre Assidue Premure
Se Il Mio Nome Saper Voi Bramate
Oh Cielo!
All'Idea Di Quel Metallo
Una Voce Poco Fa
Si, Si, La Vincero
Ah, Disgraziato Figaro!
Ah! Barbiere D'Inferno
La Calunnia E Un Venticello
Ah! Che Ne Dite?
Ma Bravi! Ma Benone!
Dunque Io Son
Ora Mi Sento Meglio
A Un Dottor Della Mia Sorte

Tracks:

Finora In Questa Camera
Ehi, Di Casa, Buona Gente
Che Cosa Accadde, Signori Miei
Fredda Ed Immobile
Ma Signor...Ma Un Dottor
Ma Vedi Il Mio Destino!
Pace E Gioia Sia Con Voi
Insomma, Mio Signore, Chi E Lei?
Venite, Signorina
Contro Un Cor Che Accende Amore
Bella Voce! Bravissima!
Quando Mi Sei Vicina
Bravo, Signor Barbiere, Ma Bravo!
Don Basilio! Cosa Veggo!
Che Vecchio Sospettoso!
Il Vecchiotto Cerca Moglie
Dunque Voi Don Alonso
Thunderstorm
Alfine Eccoci Qua
Ah, Qual Colpo Inaspettato!
Ah, Disgraziati Noi!
Insomma Io Ho Tutti I Torti
Di Si Felice Innesto

Customer Reviews:

A charming, humane, thoroughly enjoyable Barbiere.......2007-07-11

In much the same manner that Lucia Popp forever standardized Mozart's Königin der Nacht, Beverly Sills redefines the role of Rossini's capricious Rosina. Her crystalline coloratura voice washes over "Una voce poca fa" with brisk, windswept ease. It is a mystery why any listener would prefer a mezzo-soprano, such as Teresa Berganza, despite the fact that the role was fashioned for a denser voice. (Agnes Baltsa is likely the most delightful deep Rosina on record.) Nicolai Gedda's mellifluous voice provides the ideal characterization for Rossini's vigorous youth, the Conte d'Almaviva. "Ecco, ridente in cielo" and "Se il mio nome saper voi bramate," the role's osciallating cavatina and sensual serenade, shine with two characteristics which often clash during tenor performances: stylistic perfection and taste. Sherrill Milnes is, without a doubt, the finest Figaro recorded since Robert Merrill. The Verdian baritone exhibits atypically droll flare during "Largo al factotum," especially during the aria's feverish repetition of "Figaro." He and Gedda harmonize flawlessly during the duet "All'idea di quell metallo"; his voice also complements the radiant Sills during "Dunque io son ... tu non m'inganni?"

Fernando Corena possessed the most pristine and genuinely humorous interpretation of the cranky Dottore Bartolo. Renato Capecchi, a buffo bass whose range is quite impressive though occasionally unstable, provides a performance which can almost parallel Corena's. Where Corena was blusterous, Capecchi is sniveling; where the former was wickedly serpentine, Capecchi is morose and self-pitying. His greatest achievement is that he is never maudlin; his performance is constantly fluid (he is gut-wrenchingly hilarious during the Act II duet "Pace e gioia sia con voi" with Gedda disguised as a garrulous music teacher) and his characterization, though it transcends all realms of reality, is delightful in its over-the-top perfection. Ruggero Raimondi's Don Basilio is quite the opposite; his rendition of the "Slander Song" ("La calunnia è un venticello") is almost doomful. He provides archaic and gloomy weight where the inimitable Nicolai Ghiaurov was effervescent. The illustrious mezzo-soprano Fedora Barbieri supplies a very satisfying performance as Berta, Bartolo's disgruntled old maid, especially during her aria "Il vecchiotto cerca moglie."

With James Levine leading the London Symphony Orchestra with exquisite charm, one can barely begin to praise this brilliant 1975 recording of Rossini's landmark opera. It is not only an essential Il Barbiere di Siviglia for aficionados of the comedy, but a touching and compelling accomplishment no music lover should exist without.

Recorded too late.......2007-07-06

I wish that I could speak more highly of this performance, as it was made by some of my favorite singers (and conductor). Alas, I can not. Milnes is a fine Figaro. Sills (I love her) should have recorded this role about 10 years earlier. Really unfortunately, I found Gedda's work painful. A fine, stylish tenor in his prime, he is well past it here.

Sometimes great talents come together and misfire. But, if you are a Sills fan...

A real joy.......2007-01-24

It is a great pleasure which what I hear this wonderful recording of Rossini's masterpeace, vividly conducted by a young James Levine and sung by a cast of first-class singers including Milnes, Sills, Raimondi and the unsurpassable Gedda as Count Almaviva. This production has not lost anything of it's freshness since over 30 years!

Rossini Does it Again.......2007-01-08

A wonderful opera that even the "opera hater" would love. Great music that can be recognized by all.

A Misfire.......2005-10-09

On paper, this looks like a dream cast, but the reality proves unfortunate. BVeverly Sills, Nicolai Gedda and Sherril Milnes are some of my favorite singers, but here, Sills sounds fatigued (though her "Un Vene Poco fa" is charming and winsome), Milnes misses the finese of Figaro, and Gedda, sad to say, sounds old and tired. Renato Cappecchi is a miscast Bartolo, but Raimondi is an imposing Bartolo, if without the nuances that Zaccaria brings to the role or the sheer glee Ramey and Montarsolo do. Levine's tempi are plodding, and Fedora Barbieri shows up in a cameo as Bertha, compleatly ill-equiped. If it were not for Sill (who can do no real wrong) and Raimondi, I wouldn't even bother looking at it. 2/5

Average customer rating:

SILLS and a Perfect MANON.....
For Sills fans, mainly.
A Great Recording of an Opera That Should Be Performed More Often
Beverly Sills Signature Role
SILLS MANON RULES! AND DG CD REISSUE SUPERB!

Massenet: Manon

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Donizetti's Lucia di Lammermoor: Complete Opera (with full libretto and translation)
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The Great Recordings

ASIN: B0001Y4JGG
Release Date: 2004-05-11

Amazon.com

This recording has been unavailable for too long. Recorded in 1970, a solid year-or-so before Beverly Sills' voice began to show the damage caused by singing Elisabetta I in Donizetti's Roberto Devereux, this is the finest all-around recording of Manon on the market. Sills, in addition to being fresh-voiced, is so thoroughly in the part that we can chart Manon's downfall step by step; her girlish singing is as right on as her sassy, showy coloratura in the thirds act, and her St Sulpice scene is truly seductive. She's the perfect Manon. And Nicolai Gedda's Des Grieux, sung, as is Sills' Manon and the rest of the cast, in impeccable French, is passionate, madly in love, and ultimately tragic. Gabriel Bacquier's Count is imperious and authoritative and Gerard Souzay's Lescaut is smooth. Julius Rudel's leadership sparkles when it should and his sense of French suavity is unfailing. The score is given more than complete - as an appendix, there's an aria for Manon that Massenet added later. This is a desert island disc. --Robert Levine

Customer Reviews:

SILLS and a Perfect MANON............2007-07-07

Enough has been written about Beverly Sills and the role of Manon that you already know that she OWNED the role for a long time.

This recording was originally issued on EMI, and I find it unusual that it should have disappeared from that label and it now appears on DG. Although it is strange, we need not worry about that; the main thing here is that the recording is again available to us.

You only really need two copies of Manon...the Victoria De Los Angeles one under Pierre Monteaux, and this one with Sills, Gedda, Bacquier, and Souzay under Julius Rudel. All participants here are simply wonderful, and all in very good voice as it happens! Usually we get a weak link, but somehow, the god's smiled on this effort, and everything came together wonderfully.

This is one of Gedda's efforts that I heartily commend! Simply a great des Griux! Souzay's Lescaut is really a wonderfully smooth, and mellow, performance that you need to hear. Gabriel Bacquier, AS ALWAYS turns in a magnificently commanding performance as Count des Griux. This of course brings us to the role of Manon. Simply stunning would be a great way to say it! Sills is just so real-life-bubbly girlish, and so lovely, that we are swept up in the swirl of mad love, right up to tragedy that comes to her, and the heart-wrenchingly sad finale.

This recording belongs in everyone's collection, right beside the Victoria De Los Angeles one! Enjoy! ~operabruin

For Sills fans, mainly........2006-01-16

As good an ensemble as could be assembled in the more recent past, well conducted by the seasoned Rudel, this 1970 performance stands or falls by one's perception of the two principals.

Nicolaï Gedda (né Ustinov,) b. 1925, half-Swedish, half-Russian, was a fine musician with a highly developped vocal technique. His manner was rather cold, however, and at 45 his lyric voice had lost some of its original bloom. I find his des Grieux rather grim and emphatic, lacking in romantic élan. I much prefer the poetic Henri Legay in the definitive Monteux recording (TESTAMENT.)

Beverly Sills (née Silvermann,) b. 1929, American, studied with Estelle Liebling, a pupil of the legendary Mathilde Marchesi, teacher of Melba, Eames, Kurtz, Alda and many an other French stylist.

Sills new exactly how to sing this music and had the perfect voice and technique for it. Many years of repertory singing in the provinces, often in inappropriately heavy parts (Tosca!) however, had made Sills' voice thin and unsteady by the time she made this recording at age 41. Her interpretation is intense, heartfelt and full of telling dramatic detail, but often heavy-handed and unpleasant on the ear. She is also rather short on the elegance and chimeric charm that characterises the best interpreters of this part (Vallin, Heldy, Féraldy, de los Ángeles.)

The airplane hangar ambience of the recording studio (talk about overresonant!) does not help, either.

Incidentally, the rôle of Lescaut is sung (well) by Gerard SOUZAY.

Gabriel Bacquier sings comte des Grieux--very well indeed.

A Great Recording of an Opera That Should Be Performed More Often.......2005-10-08

Massanet's MANON is a work that is no stranger to the stage in New York City where it has had a glorious history at both the Met and the New York City Opera though this is not the case around the world. Its frequent New York performances may make it Massanet's most staged opera. For those familiar with the work, it is a favorite. It has all the elements that make French opera great, but it is not a work that has familiar excerpts. As a matter of fact, Massanet's bets known melodies are from lesser known works, such as the "Meditation" from THAIS and Porquoi me Revelier" from WERTHER. Yet when MANON is broadcast from the Met or if one takes out a recording, it's easy to understand why this work has been a favorite of so many for over a century and begs the question `Why isn't this work performed more often?'

Like great French opera, MANON is a work that is a bit larger than life, requires exquisite orchestral playing, and of course great singing. This set, originally released by Westminster in the 1970's and re-released by Duetsche Grammophon has it all. The vocal abilities of the three leading performers: Beverly Sills, Nicolai Gedda and Gabriel Bacquier as Manon, des Grieux, and Lescaut respectively are each in top vocal form. Sills herself states that Manon was a role she loved and one that she believed her voice was well suited for, and there can be no disputation when listening to this set. As a conductor, Julius Rudel is at his best. He has great control over the New Philharmonia Orchestra, creating lush sounds that make the recording spectacular and an added, but essential plus would be the outstanding choral performances by the Ambrosian Opera Chorus and the great performances of the smaller roles.

Just about every reviewer, from Amazon reviewers to the critics who write for OPERA NEWS have heralded the new availability of this recording. Listen to it, and you will understand why and echo the many praises of this set.

Enjoy!

Beverly Sills Signature Role.......2004-12-17

Beverly Sills once said that if she was to be remembered for anything, it should be for "Manon". This is the role that catapulted her to opera superstardom. And she made this recording in 1970, when her voice still had all its youthful freshness and vigor, and shows just why Beverly Sills had such a great reputation. It has been said that Massenet wrote for his soprano, and nowhere is that more true than in the title role of this opera. And Sills does the role complete justice, vocally demonstrating in her singing the downfall of Manon from young innocent girl to demimondaine to despair and death. Her rendition of the great aria "Adieu, notre petite table", is incredibly moving. And the rest of the cast is excellent as well. Nicolai Gedda is supremely stylish as Des Grieux, Gabriel Bacquier strong and forthright as his father, and one gets to hear the late Gerard Souzay, famous primarily as a concert artist, singing a rare opera role as Lescaut, Manon's cousin. Julius Rudel conducts cleanly, making the most of Massenet's lush orchestrations. This recording belongs on the shelf of every opera lover.

SILLS MANON RULES! AND DG CD REISSUE SUPERB!.......2004-05-31

(I wrote these words in a review of the Angel/EMI CD reissue that is now out of print) On my select list of favorite complete opera recordings sits Beverly Sills' Manon. I wore out three copies of the vinyl version and the EMI CD reissue was more than welcome in my collection! Bubbles once said this recording came closest to what she did in the theatre, and there simply hasn't been a more vivid and complete a performance, musically, dramatically or otherwise. Vocally everything is top-notch, the supporting cast is superior to anything else on recording and Rudel's pacing is without peer. Brava Manon, Brava Beverly Sills!

Tracks:

E Soffitto...E Pareti...
Questa E La Cameriera
Dovunque Al Mondo
Quale Smania Vi Prende!
Quanto Cielo!...Ancora Un Passo Or Via
Gran Ventura
L'Imperial Commissario
Vieni, Amor Mio!
Ieri Son Salita Tutta Sola
Ed Eccoci In Famiglia
Vieni La Sera
Bimba Dagli Occhi Pieni Di Malia
Vogliatemi Bene, Un Bene Piccolino
E Izaghi Ed Izanami
Un Bel Di Vedremo
C'e. Entrate
Non Lo Sapete Insomma

Tracks:

A Voi Pero Giurerei Fede Costante
Ora A Noi
E Questo? E Questo?
Che Tua Madre Dovra
Io Scendo Al Piano
Vespa! Rospo Maledetto!
Una Nave Da Guerra
Scuoti Quella Fronda Di Ciliegio
Or Vienmi Ad Adornar
Cora A Bocca Chiusa
Oh Eh! Oh Eh! Oh Eh!
Gia Il Sole!
Povera Butterfly!
Io So Che Alle Sue Pene
Addio, Fiorito Asil
Glielo Dirai?
Che Vuol Da Me?
Come Una Mosca Prigioniera
Con Onor Muore

Customer Reviews:

Stick with the Plot.......2007-02-09

Puccini.

Up there with Mozart when it comes to tearing the heart out of your soul.

Maria Callas - what a sexy women - no wonder that rich Greek fella courted her. She is a diamond, a truly wonderful opera singer. No, she is better than that. Maria Callas interprets the music into an emotional fury that extends passion and mundanity to their horizons.

Why buy Playboy when you can get the real deal right here. Smouldering femininity with knobs on. Simply the best.

Callas, an over-rated soprano.......2006-12-22

Nicolai Gedda as B.F Pinkerton is brilliant, a true showman in the role and a brilliant tenor full-stop. Callas on the other was not good at Cio-Cio San, in fact she was terrible.
It truly shows the difference between the two lead roles vocal technique and capability, in 'Vogliatemi bene', Gedda was brilliant note perfect and tone perfect, Callas was terrible she shrieked most of her way through the duet and sang a shrill top C at the end which compared with Gedda's masterful top C was a piece of dirt.
If you disagree listen the the track over and over again, see how shrill and whiney Callas's top C really is.

All over brilliant performance by Gedda, Callas was unworthy of such a great Pinkerton.

It's a SHOCK!.......2005-12-21

It's a SHOCK how Callas interpreted "Madama Butterfly" It's close to perfect. Must listen for opera lovers!

Perhaps The Best Recorded "Madama Butterfly".......2005-09-07

There are many "Butterfly" recordings out there that are excellent in their own right but this recording deserves a category of excellence all it's own. What almost looks like mis-casting on paper, Callas does an astonishing job with the title role, which she recorded months before singing a series in Chicago and never to touch the role again. This is really one of those recordings that should be considered an historical event in the history of recorded opera. The collaboration of all the principles with von Karajan shows a unique unity that hasn't been duplicated very often.

But there's Callas' Cio Cio San that is really the reason to consider this recording. Even her silences, such as when she notices Kate in the garden in the final scenes, speaks volumes. There's this incredible thread that she creates from her entrance to her death that is like nothing I've ever heard before in this role. Also her choice of tone is remarkable and characteristic of this most chameleon of artists. She transforms herself from child to woman during the love duet and really does not sing at full tilt until the heart rendering final scene. This is an amazing studio portrayal and like I said, absolutely historical.

Perfection.......2005-08-09

I purchased Madama Butterfly and Macbeth online a couple of years ago. I listened to Macbeth first and was astonished. Then I decided to listen to Butterfly. When I heard Butterfly's entrance (Ancora un passo or via) I wasn't sure if the woman singing was Callas. As she went on singing, I was shocked. I couldn't believe my ears that this was the same woman I just heard a few minutes back singing evil Lady Macbeth. It was like listening to another singer. The transformation of the voice was a work of art itself. Listen to the way she says MORTO. The other highlights of this masterwork are the love duet, her mastery singing of un bel di, and her bone chilling con onor moure.
This recording is an excellent example of her artistry. Maria Callas' ability to change the tone of her voice for the different roles she performed onstage and recordings was great achievement. This is one of the many reasons why I love her so much. She has helped me through some tough times in the past. Whenever I was in need of inspiration, Callas came to the rescue. Maria Callas is my idol and I am grateful and honored to be part of the Maria Callas experience.

Bizet: Carmen (complete opera) with Maria Callas, Nicolai Gedda, Georges Pretre, Paris Opera Orchestra

Average customer rating:

K.Teezy
Bizet: Carmen (Callas, Gedda, et al)
Imperfect? Maybe. Worthwhile? Yes!
Throw me into solitary confinement with this CD
Callas...Callas...Callas...

Bizet: Carmen (complete opera) with Maria Callas, Nicolai Gedda, Georges Pretre, Paris Opera Orchestra
Georges Bizet , Maria Callas , Nicolai Gedda , Georges Prêtre , Orchestre de Théâtre National de l'Opéra de Paris , Choeurs René Duclos , Robert Massard , Jane Berbié , Andrea Guiot , and Claude Cales
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Puccini: Madama Butterfly (complete opera) with Maria Callas, Lucia Danieli, Nicolai Gedda, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan
Puccini: Tosca (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Victor de Sabata, Chorus & Orchestra of La Scala, Milan
Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan
Puccini - La Bohème / Freni, Pavarotti, Harwood, Ghiaurov, Karajan
Puccini: La Boheme (complete opera) with Maria Callas, Giuseppe di Stefano, Anna Moffo, Antonino Votto, Chorus & Orchestra of La Scala, Milan

ASIN: B000002RXS
Release Date: 1997-08-19

Tracks:

Carmen: Prelude - (Orchestre)
Carmen: Act One: Sur la place - (Choeur/Morales/Micaela)
Carmen: Act One: Avec la garde montante - (Choeur d'enfants/Morales/Jose)
Carmen: Act One: C'est bien la, n'est-ce pas
Carmen: Act One: La cloche a sonne... Dans l'air, nous suivons des yeux la fumee - (Choeur)
Carmen: Act One: Quand je vous aimerai ?... L'amour este un oiseau rebelle - (Carmen/Choeur)
Carmen: Act One: Carmen ! sur tes pas, nous nous pressions tous ! - (Choeur/Carmen/Jose)
Carmen: Act One: Quels regards ! Quelle effrontere !
Carmen: Act One: Parle-moi de ma mere !
Carmen: Act One: Reste la, maintenant, pendant que je lirai - (Jose/Micaela)
Carmen: Act One: Que se passe-t-il donc la-bas?...Au secours! Au secours! - (Zuniga/Choeur)
Carmen: Act One: Mon officer, c'etait une querelle - (Jose/Zuniga/Carmen)
Carmen: Act One: Pres des remparts de Seville - (Carmen/Jose)
Carmen: Act One: Voico l'ordre; partez - (Zuniga/Carmen)
Carmen: Entr'acte - (Orchestre)
Carmen: Act Two: Les tringles des sistres tintaient - (Carmen)
Carmen: Act Two: Messieurs, Pastia me dit - (Frasquita/Zuniga/Carmen/Mercedes)
Carmen: Act Two: Vivat ! vivat ! le Torero ! - (Choeur/Zuniga)
Carmen: Act Two: Votre toast, je peux vous le rendre -(Escamillo/Choeur)
Carmen: Act Two: La belle, un mot - (Escamillo/Carmen/Zuniga)
Carmen: Act Two: Eh bien ! vite, Quelles nouvelles ?.. Nous avons en tete une affaire - (Frasquita/Le Dancaire/Mercedes/Le Remendado/Carmen)

Tracks:

Carmen: Act Two: Mais qui donc attends-tu? - (Le Dancaire/Carmen/Le Remendado)
Carmen: Act Two: Halte-l- (Jose/Carmen/Frasquita/Mercedes/Le Dancaire/Le Remendado)
Carmen: Act Two: Enfin c'est toi! ...Tout doux, Monsieur, tout doux
Carmen: Act Two: La fleur que tu m'avais jet...Non, tu ne m'aimes pas - (Carmen/Jose)
Carmen: Act Two: Holarmen! HolHol- (Zuniga/Jose/Carmen/Le Dancaire/Le Remendado)
Carmen: Entr'acte - (Orchestre)
Carmen: Act Three: oute, ecoute, compagnon, ecoute - (Choeur/Le Dancaire/Remendado/Jose/Carmen/Mercedes/Frasquita)
Carmen: Act Three: Reposons-nous une heure ici, mes camarades - (Le Dancaire/Carmen/Jose)
Carmen: Act Three: Mns! Coupons! - (Frasquita/Mercedes/Carmen)
Carmen: Act Three: Eh bien? - (Carmen/Le Dancaire/Frasquita)
Carmen: Act Three: Quant au douanier, c'est notre affaire - (Carmen/Mercedes/Frasquita)
Carmen: Act Three: C'est des contrebandiers le refuge ordinaire...Je dis, que rien ne m'epouvante
Carmen: Act Three: Je ne me trompe pas...c'est lui sur ce rocher - (Micaela)
Carmen: Act Three: Quelques lignes plus bas...HolholJos (Escamillo/Jose/Carmen/Le Dancaire/Micaela/Frasquita/Mercedes/Remendado/Choeur)
Carmen: Entr'acte - (Orchestre)
Carmen: Act Four: A deux cuartos! A deux cuartos! - (Choeur/Zuniga)
Carmen: Act Four: Les voici! voici la quadrille! - (Choeur/Escamillo/Carmen/Frasquita)
Carmen: Act Four: C'est toi!...Carmen, il est temps encore ...Viva! viva! la course est belle! - (Carmen/Jose/Choeur)

Amazon.com essential recording

This recording was made near the end of Maria Callas's career. It is a role she never sang onstage, but it suited her almost perfectly, and she gives a deep, compelling performance on this recording. The mezzo-soprano tessitura was comfortable for her voice, and the role did not call for a pretty sound. Nor did the recording studio require the kind of huge vocal power expected in an opera house. And furthermore, the character of a strong-willed, capricious, sexually compelling woman who thinks exclusively of herself was close to the offstage personality that made Callas so famous. --Joe McLellan

Customer Reviews:

K.Teezy.......2007-07-11

Received the product in a very timely manner....I've enjoyed listening to the CD on the way into work. It helps me relax.

Bizet: Carmen (Callas, Gedda, et al).......2007-01-10

Of the many recordings of Carmen that I've owned, this is the best. Callas has the perfect voice for it.

Imperfect? Maybe. Worthwhile? Yes!.......2006-10-11

Maria Callas' CARMEN has had at best, a checkered history. It seems to have found a permanent home in many record collections over the years, considering it has been released as an LP, cassette, and now CD, so it's loved by many if not by all the critics. It had some foes before it was released. Callas had never performed CARMEN on stage and in 1964 when the set was first issued, it was believed that a recording should only showcase an artist's best work after years of perfection. Since Maria Callas was Maria Callas, Angel records took a chance and released it, knowing she'd probably never attempt the role on stage. As soon as it was released, there was a noticeable decline in her vocal abilities, which caught many fans off guard. Still, it's stood the test of time. Maria Callas at her not so great is still better than some at their peak, and even if the voice isn't perfect, it still has an expressive quality to it that's evident to anyone who listens to it.

Maria Callas' performance for this set is interesting. One of the greatest strengths of her singing was her ability to portray a character through her voice and this may be why this set has a loyal following. We feel as if we are encountering the fiery, sensual woman that is Carmen in just about every note that Callas sings. It's hard not to forgive what some critics called an imperfect vocal performance when there is such a passion behind the singing. In the end, we have one of the most original interpretations of the role. Callas is joined by tenor Nicolai Gedda. Technically Gedda's performance cannot be faulted. He hits the notes and sings with ease. For Don Jose, this may not be enough, however. We want Jose to darken vocally as the opera progresses, and this does not happen. Gedda's strength is his beautiful voice that has suited him well in a great array of operas, but it doesn't have the robust quality that tenors such as Domingo or Corelli can bring to the role. For some of the opera's more tender moments, most notably the Don Jose/ Micaela duet in Act I "Parle-moi De Ma Mere," Gedda's light and lyrical voice is a perfect fit. I find the duet astounding and it could arguably be the best rendition of this work, which is due in no small part also to the beautiful voice of Andrea Guiot, who likewise gives a great solo performance in her aria "Je Dis, que rien ne `epouvante". Robert Messard as Escamillo does the job, but lacks the bravado of the confident lady-killer bullfighter he supposed to be. The orchestra and chorus under the direction of Georges Pretre perform beautifully and the smaller roles are all well cast.

With an opera such as CARMEN, where so many great singers have performed and recorded major roles, there is stiff competition between sets. It also seems as if there isn't one perfect set. Some great Carmens have been paired with lousy casts, and some lousy Carmens have great casts. This set isn't perfect, but overall it has a certain flow to it and for me, it feels like a CARMEN should feel.

Throw me into solitary confinement with this CD.......2006-01-25

My favorite singer singing my favorite opera. No other opera is so filled with fresh, innovative melodies... dramatic polar contrasts/opposites, and choir-multiple character interactions. No singer is as clean ( with accurate timing of gasps and rests) dramatic and prolific as Callas. In my mind this is the pinnacle of opera and most definitely of the non-Italian 19th century operatic landscape.

Callas...Callas...Callas..........2005-12-21

Even though Callas did not play "Carmen" on stage, she really saw through Carmen. AMAZING.

Average customer rating:

Highest Level of Artistry Displayed
"Behold the Tomb"
Well-sung Shakespearean travesty
beautiful and moving opera
Wonderful nostalgia

Bellini: I Capuleti e i Montecchi

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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General | Opera & Vocal | Styles | Music

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Similar Items:

Rossini: L'Assedio di Corinto
Donizetti's Lucia di Lammermoor: Complete Opera (with full libretto and translation)
Verdi: La Traviata / Sills, Gedda, Panerai; Ceccato
Handel - Julius Caesar / Treigle · Sills · Forrester · Wolff · NYCO · Rudel
Massenet: Manon

ASIN: B0002XV2XO
Release Date: 2005-02-15

Tracks:

Sinfonia
Aggiorna Appena...
O Di Capellio, Generosi Amici
E Serbata A Questo Acciaro
Si: M'abbraccia
L'amo Tanto, E M'e Si Cara
Vanne Lorenzo
Lieto Del Dolce Incarno
Ascolta. Se Romeo T'uccise Un Figlio
Riedi Al Campo
La Tremenda Ultrice Spada
Eccomi In Lieta Vesta...
Oh! Quante Volte
Propizia E L'ora
Si, Fuggire: A Noi Non Resta
Odi Tu? L'altar Funesto
Vieni, Ah! Vieni

Tracks:

Lieta Notte, Avventurosa
Deh! Per Pieta, T'arresta
Tace Il Fragor
Che Miro?
Soccorso, Sostegno Accordagli
Accorriam...Romeo!
Ne Alcun Ritorna!
Morte Io Non Temo Il Sai
Prendi, Gl'istanti Volano
Deh! Padre Mio, Deh Padre Mio!
Deserto E Il Luogo
Chi Sei Tu?
Qua' Voci! Oh Dio!
Ella E Morta, O Sciagurato
Siam Giunti
Ecco La Tomba
Tu Sola, O Mia Giulietta
O Tu, Mia Sola Speme
Ah! Crudel! Che Mai Facesti?

Customer Reviews:

Highest Level of Artistry Displayed .......2007-02-13

This isn't the Shakespearean version, in case you get disappointed, but is based on an Italian source. In spite of the obvious fact the Sills and Gedda were already past their prime by the time of this recording, they still have plenty to give us, and their musical insight makes this recording better than other well-sung performances recorded in the studio. Baker is absolutely fantastic throughout and gave a very satisfying performance both musically and artistically.

Now coming to the comparison made by a reviewer between Bellini and Verdi. Well, even if Bellini had lived to 80, it would not be his aim to write like Verdi. Bellini stood alone amongst the great opera composers of Italy. Even his contemporaries recognized it and called his music 'filosofico'. Bellini's aim was not to create dramas with music like Donizetti or Verdi, but rather music drama - a fact which Wagner recognized. Only that Bellini's aim was to realize it via the voice (think Norma), while Wagner did it with the orchestra. It is note-worthy that Wagner spared Bellini the usual bashing he gave to the Italians. Not only that - he admitted to Cosima that the love duet from Capuleti was the source of his inspiration for his own in Tristan. In his old age, he was proud to say that he learned from 'these pages' what Messrs Brahms etc had failed to learn. One should approach a Bellini opera as one does a Chopin Ballade or Wagner's Tristan, not Verdi. That is not to say that Verdi is inferior, but just different.

And regarding Bellini's orchestration, Wagner and Bizet were on separate occasions, were tasked to 'improve' the orchestration of Norma. Both eventually gave up the job as impossible and concluded that the orchestration written by Bellini was the most suitable. Comparing the orchestration between the early Il Pirata (with its almost Wagnerian finale!) with Norma, it dawns upon one that the decision to thin out the orchestra by Bellini was deliberate, in line with his purpose of using the voice as the primary tool to express the drama.

"Behold the Tomb".......2006-09-30

I find it difficult to evaluate Bellini's work because it depends so heavily on performance. Never a connoiseur of performances, I leave it to others to tell one bel canto aria from another. It is discouraging to realize that Bellini, who died young, never took much interest in orchestral music, making him a lesser counterpart to Verdi, who combines the Italian devotion to the voice with powerful dramatic effects from the orchestra. Even the cover of the EMI CD is disappointing because it slaps a mod-erotic photograph on an opera where the lovers are too traumatised to make love. The libretto is so poor that the recording does not bother to supply it, confirming the view that Bellini's operas are for connoiseurs of vocal sound only.

I have downoaded the text from Karadar Classical Music as well as a synopsis from Opera japonica. We learn that the Capuleti and Montecchi are local versions of the Guelph and Ghilbelline parties respectively. The Ghibelline Dante would have been allied with the Montecchi, Romeo's party. Capellio, Juliet's father, seeks to avenge the death of a son at the hands of Romeo. Romeo's part is sung by a mezzo-soprano, adding further to the absurdity of the EMI cover photo. Although Romeo and Juliet are already lovers, she refuses to elope with him out of loyalty to her father. These lovers really seem more interested in dying than in making love. Juliet does manage to declare that she breathes easier when she learns that Romeo has survived a fight. We know that Romeo has reached his appointed place when he sings, "Ecco la tomba." Janet Baker, as Romeo, shines in the slow, heart-broken singing that follows, interspersed with sympathetic passages by the chorus of Montecchi. There is no doubt that Bellini's operas allow top performers to sing as beautifully as they can. The instrumental accompaniment in this concluding scene is reduced to a bare minimum.

Well-sung Shakespearean travesty.......2005-10-15

Source: Studio recording made at Abbey Road Studio, London, June 16-25, 1975.

Sound: Analog stereo. The engineering is competent, I suppose, but as a matter of personal taste I do not care for the distant and echo-y soundscape. It sounds as though the opera were taking place at the far end of a Gothic cathedral.

Documentation: No printed libretto, although there is a reference to an on-line libretto available at the EMI Classics website, (which failed to download in five tries over two days) just in case I want to listen to this opera while I am working at my computer. The accompanying essay by James Harding is the most useless I have ever found in a CD case--and that is by no means an easily earned distinction. Harding is vitally interested in Bellini's lame love life but indifferent to such trifles as the plot of the opera he is supposed to be writing about.

Format: Disk 1, Act I, Scenes 1 and 2; 60:42. Disk 2, Act I, Scene 3; Act II, Scenes 1-3; 74:23.

Bellini premiered "I Capuleti e i Montecchi" at Teatro La Fenice in Venice exactly one month before his twenty-ninth birthday. It was a success but it was not without critics. In his essay, Harding writes, "It was unfair of Berlioz to denounce I Capuleti e i Montecchi as a travesty of Shakespeare." Berlioz clearly had a point, for where the Bard had twenty characters, the librettist "Romani made do with only five. You will look in vain," Harding gushes on, "for the Nurse and Friar Laurence" and, I must add, for Mercutio, Benvolio and Paris, too. In the opera, Paris and Tybalt become a single character, Tebaldo, to the great detriment of the plot.

"I Capuleti e i Montecchi" came about midway in Bellini's too short career. The really big hits on which his fame rests were yet to come. The music is competent but somehow lacking that indefinable ping that makes "La Sonnambula," "Norma" and "I Puritani" extraordinary.

Overall, the performance is good. Best by far in the cast is Janet Baker. She does not generate overt excitement but she offers an overwhelming sense of rightness when she essays any part in the narrow range that she made her own. This recording is a little late for the best of Sills but she is still very bright and amazingly agile. As always, I feel that her voice is just a little too cool and too thin, but that is purely a matter of personal taste. It is also late for Nicolai Gedda, who sounds unexpectedly baritonal as Tebaldo, a part that any other 19th Century composer would surely have written for a baritone. (I know, I know, Gounod's Tybalt is a tenor. I sang the role, myself, back in college days. But Gounod's Tybalt is markedly different in character from Bellini's Tebaldo-Paris.) Gedda is very good, but I am not at all sure that I would have recognized him if his name had not been on the cover.

"I Capuleti e i Montecchi" is not a great opera, but three famous and very fine singers offer intelligent and entertaining performances. That's worth five stars as far as I'm concerned.

FOR THE HISTORICALLY MINDED: William Shakespeare wrote his "Romeo and Juliet" in the 1590s, in the early days of his career. As was usual for him, he based his play on older materials. The first literary mention of the Montagus and the Capulets is in Dante's "Purgatorio," vi, lines 106-108. The Montagus lived in Verona and the Capulets in Cremona. They were used by Dante as examples of warring factions that had been exterminated. About 1530, Luigi da Porto mistakenly assumed that the Montagus and the Capulets had both resided in Verona and had feuded with one another. He worked up a tale that involved two young members of his warring clans, Giulietta and Romeo. In 1554, Matteo Bandello published a novella called "Romeo e Giulietta" which proved to be an international hit. A French version was adapted from Bandello by Pierre Boaistuau in 1559. This, in turn, was translated into English in 1562 by Arthur Brooke as a "tragical history" in verse form called "Romeus and Juliet," later to be pounced on by Will Shakespeare in search of a popular hit. The only major changes that Shakespeare made in Brooke's plot were to compress the time frame and to introduce Tybalt into the story at an earlier point in order to build him up as a worthy adversary for Romeo. And, oh, yes, he created an array of living characters such as had never been conceived before.

A number of commentators have taken note of the much simplified plot of "I Capuleti e i Montecchi." They have accounted for it by declaring that Shakespeare's version was not yet well-known in the world, so Romani must have based his work on an earlier version of the story, by which I presume they mean by Bandello or even by da Porto. I don't buy that explanation. By 1830, the cult of Bardolatry was firmly established. The standard German translations (that the Germans to this day hold to be superior to the English originals) were well along. Two generations earlier, the tourist industry of Stratford Upon Avon had been given a kick start by the great actor, Garrick (in a bicentennial celebration conceived by David Garrick, written by David Garrick, produced by David Garrick, directed by David Garrick and starring David Garrick--additional dialogue by W. Shakespeare.) Just seventeen years later, Verdi would write his "Macbeth" and make sketches for a "King Lear," that greatest of all operatic might-have-beens. One of the twenty or so books that Verdi kept close to himself until the day he died was an Italian translation of the works of Shakespeare.

No, I do not think that Romani dealt with any obscure 16th Century originals. I think that he exercised a hack's privilege to pillage a respectable source for his convenience. Berlioz was correct. In both the literal and the figurative senses of the word, this is a travesty.

beautiful and moving opera .......2005-08-12

One may regret that Beverly Sills and Nicolai Gedda did not
record this opera earlier in their careers (1975) yet still
be glad they did. Though there are some audible signs of vo-
cal wear their artistry and commitment are never in doubt and
they offer memorable performances. Janet Baker is on the other
hand in splendid voice and sings superbly - she portrays a
somber Romeo and is supremely moving in the tomb scene.
Robert Lloyd and Raimund Herincx offer excellent support.
Very well recorded and beautifully conducted by Maestro
Patane - a very welcome release !

Wonderful nostalgia .......2005-05-20

Back in the 1970's I was a very intense fan of both La Sills and La Baker. The very idea of both of them coming together for an opera recording sent this rapid fan into a severe swoon! Therefore, this recording sent me into a state of ecstasy! I along with other Sills and Baker fans would gather around my stereo listening to this recording with Baker and Sills weaving their vocal magic which always elicited from us many tears and bravos.
At the time Beverly was a known commodity in Bell Canto operas; however, Janet was mainly known as a song recitalist. Nevertheless, Janet Baker, in this opera, proves that she could sing opera with the best of them showing her great operatic credentials-she is up to every vocal challenge Bellini throws at her. She tackles the role with great artistry and beauty of tone. Her last scene STILL dissolves me to copious tears.
In this recording Beverly sings a little cautiously not throwing out high E's with abandon as before; however, her years of experience being a sublime singer of Bell Canto operas comes through. Her singing is gorgeous, sweet and touching to the highest degree, I truly believe that this recording was one of her best.
It truly is great to hear this recording again-ah the memories. Time has NOT diminished its appeal!

Average customer rating:

Wonderful, but not my first choice
THE BEST recording of the BEST oratorio ever...
Too bad there are so few recordings of Elijah

Mendelssohn: Elijah

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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Brahms: Ein deutsches Requiem [A German Requiem]

ASIN: B0002XV31A
Release Date: 2005-02-15

Tracks:

Introduction: As God The Lord Of Israel Liveth
Overture
No.1 Help, Lord! Wilt Thou Quite Destroy Us?
No.2: Lord! Bow Thine Ear To Our Prayer!
No.3: Ye People, Rend Your Hearts
No.4: If With All Your Hearts
No.5: Yet Doth The Lord See It Not
No.6: Elijah! Get Thee Hence
No.7: For He Shall Give His Angels Charge Over Thee
Recitative: Now Cherith's Brook Is Dried Up
No.8: What Have I Do To Do With Thee?
No.9: Blessed Are The Men Who Fear Him
No.10: As God The Lord Of Sabaoth Liveth
No.11: Baal, We Cry To Thee: Hear And Answer Us!
No.12: Call Him Louder, For He Is A God!
No.13: Call Him Louder! He Heareth Not!
No.14: Lord God Of Abraham, Isaac And Israel!
No.15: Cast Thy Burden Upon The Lord
No.16: O Thou, Who Makest Thine Angels Spirits
No.17: Is Not His Word Like A Fire?
No.18: Woe Unto Them Who Forsake Him!
No.19: O Man Of God, Help Thy People!
No.20: Thanks Be To God!

Tracks:

No.21: Hear Ye, Israel; Hear What The Lord Speaketh
No.22: Be Not Afraid, Saith God The Lord
No.23: The Lord Hath Exalted Thee
No.24: Woe To Him, He Shall Perish
No.25: Man Of God, Now Let My Words Be Precious
No.26: It Is Enough; O Lord Now Take My Life
No.27: See, Now He Sleepeth
No.28: Lift Thine Eyes To The Mountains
No.29: He, Watching Over Israel, Slumbers Not
No.30: Arise, Elijah, For Thou Hast A Long Journey
No.31: O Rest In The Lord
No.32: He That Shall Endure To The End, Shall Be Saved
No.33: Night Falleth Round Me, O Lord!
No.34: Behold! God The Lord Passed By!
No.35: Above Him Stood The Seraphim
No.36: Go, Return Upon Thy Way
No.37: For The Mountains Shall Depart
No.38: Then Did Elijah The Prophet Break Forth
No.39: Then Shall The Righteous Shine Forth
No.40: Behold, God Hath Sent Elijah
No.41: But The Lord, From The North Hath Raised One
No.41a: O Come Everyone That Thirsteth
No.42: And Then Shall Your Light Break Forth

Customer Reviews:

Wonderful, but not my first choice.......2007-04-07

I believe this was the first recording of Elijah in English that used an "international" conductor and some international singers. Fruhbeck gives a good, dramatic sweep to the piece, with some wonderful dramatic moments. This is an old fashioned performance, with only a solo quartet, and if there is a semi-chorus, I can't tell the difference. This means that the soprano is the Widow, and an Angel, the mezzo the Angel and Queen Jezabel, etc. You really should have a libretto, but you don't get one at this price.
Fischer-Dieskau roughens up his voice for the role, and therein lies a problem. The voice spreads and his diction suffers because of it; that and his unidiomatic pronounciation, with far too many rolled "r"s. He does the drama well, but what works well in lieder works here less well on the large scale. Odd, given his success as on opera singer (check out his Iago), that here he frequently comes off blustery.
Dame Gwyneth Jones belies her reputation and gives a contolled, dramatic performance, using her "edge" to advantage in "Hear Ye, Israel". Gedda's diction is amazing, with exactly the right color for this literature, and projecting a little more blood than an English tenor.
Dame Janet Baker is my star in this performance. Dramatic, heart-rending when need be, and in wonderful voice. She'll chill your blood when she tells the people of Baal to "slaughter him, do what he hath done!".
And as for the people of Baal, the Philharmonia Chorus is wonderful. Incisive and dramatic, with beautiful tone. I could do without the trick of the boy choir for "Lift Thine Eyes", and I miss the small ensembles, but all in all a fine performance, and good recording, circa 1968.
First choice in English, Daniels/Terfel: better Elijah in Terfel, better recording, more authentic orchestra, small vocal ensembles (as per the score) but inferior women (including Fleming: beautiful tone, but where's her head?). In German, it's Sawallisch/Adam all the way.
But if you're singing Elijah, and have a score, this is a good choice.

THE BEST recording of the BEST oratorio ever..........2006-08-15

Okay, I'm gonna admit I'm biased- I first sung in the chorus of Elijah when I was 14 and it made a BIG impression on me!
This recording is in every way wonderful. Starting with Dietrich Fischer-Dieskau. He IS Elijah to me. His singing is perfection. He has amazing phrasing and his diction makes it possible to understand the lovely, inspired libretto to this heavenly music. There are so many pieces that are ephemeral, but a couple of my favorites are: #14, Lord God of Abraham and #37, For the Mountains shall Depart. Dieskau does a great job of what I think of as compassionate, heartfelt singing. His interpretation sounds like the voice of God himself. It has a quality of kindness and yet he sounds just as convincing reprimanding the people of Baal. He is the true highlight of this recording.

That said, the rest of the cast is wonderful as well. Gwyneth Jones has a lovely, silvery voice that has a clarion bell-like tone that rings over the large orchestra with ease. She has occasional "misfire" but is a consistent performer. Dame Janet Baker and Nicolai Gedda both perform at a consistently lovely level. The orchestra and chorus are both wonderful. #15, Cast thy Burden upon the Lord, #32 He that Shall Endure to the End, and #38 Then Did Elijah are all highlights.

All said, for me the main reason to get this recording is Dieskau's Elijah- after all, he's the main character. But don't forget the lovely music. This story is exciting and passionate and sacred all at the same time. For me, it's the best oratorio that has a moving story and great music too.

Too bad there are so few recordings of Elijah.......2006-07-03

This is a good recording of an oratorio that deserves more attention. The chorus and soloists are very good--I just wish Fischer-Diskau wouldn't slide around so much in singing the title part!

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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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.

Average customer rating:

A glorious achievement, brimming with magic and wonder
Recommendable only for the female voices
Klemperer or Bohm in the Mgic Flute?
A Magically-Sung MAGIC FLUTE
And the Queen of the Night will be defeated

Mozart: Die Zauberflote

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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Verdi - Don Carlo / Domingo · Caballé · Raimondi · Milnes · Verrett · Estes · Giulini
Beethoven: Fidelio

ASIN: B00004VVZN
Release Date: 2000-08-15

Tracks:

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

Tracks:

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

Customer Reviews:

A glorious achievement, brimming with magic and wonder.......2007-07-11

Walter Klemperer's historic 1964 recording of Mozart's Die Zauberflöte is a genius in operatic productions. Unlike Le Nozze di Figaro or Don Giovanni, Mozart's final opera is so dramatically convoluted and ridiculous that the recitatives provide more of a source of distraction and confusion than storyline continuation. Thus, Klemperer sculpts a marvelous collection of arias and ensembles with arguably the finest Mozartian cast ever assembled. The Philharmonia Orchestra is, for the greater part, in excellent form. Only occasionally does it sound archaic under Klemperer's traditional direction. The latter is also a bit sluggish at times, but, then again, Klemperer is often praised as a "slow conductor." The Overture is a beacon on his brilliance in lovingly drawing out the music into an almost panoramic phrase of majestic delight. Conversely, the eminent Act II duet "Pa-pa-ge-no! / Pa-pa-ge-na!" is taken horridly slowly and loses much of its energetic vitality.

The soloists - particularly the women - are where the true brilliance lies, nonetheless. Lucia Popp provides a career performance as the Königin der Nacht and fully defines the character described as a "vulture with the voice of a nightingale." Her renditions of "O zitt're nicht, mein lieber Sohn!" and "Der Hölle Rache kocht in meinem Herzen" are utterly breathtaking. Hearing sublime, creamy-voiced Gundula Janowitz as Pamina is an absolute joy. Her demure duet with Berry ("Bei Männern, welche Liebe fühlen") is one of the most beautiful moments on the entire recording and her despondent aria ("Ach, ich fühl's, es ist verschwunden!") is truly heartrending. Elisabeth Schwarzkopf, Christa Ludwig, and Marga Höffgen (the superlative Erda in Solti's 1963 Siegfried) - in the dictionary definition of unmatched choice casting - are a fiendishly celestial trio as the three ladies in the service of the Königin der Nacht. They are a particular delight in the lusty Act I quartet "Stirb, Ungeheuer, durch uns're Macht!" with Gedda. Agnes Giebel, Anna Reynolds, and Josephine Veasey are another great trio as the three boys in the service of Sarastro, especially in their pleasant trio "Seid uns zum zweiten Mal willkommen." There have been greater Papagenas than Ruth-Margaret Pütz, singularly Renate Holm (for Solti), but the former is certainly competent in the small role.

Nicolai Gedda can only be seconded as Tamino by the illustrious Fritz Wunderlich. His voice - virile, gallant, daring - gives the very "un-laudable" character of Tamino the chivalrous, convincing sound he requires. His wondrous arias "Dies Bildnis ist bezaubernd schön" and "Wie stark ist nicht dein Zauberton" are excellent examples of the master Swedish tenor's lyric genius. Walter Berry is certainly the most likeable Papageno on record, especially during his two great arias ("Der Vogelfänger bin ich ja" and "Ein Mädchen oder Weibchen") and quintets ("Hm! Hm! Hm! Hm!" and "Wie? Wie? Wie?" ... "Ganz nah ist euch die Königin") with Gedda, Schwarzkopf, Ludwig, and Höffgen. Gerhard Unger fails to project a Monostatos as nasty as Gerhard Stolze, but he is no less cruel and vindictive. His sniveling aria ("Alles fühlt der Liebe Freuden") is a definite highlight.

Oddly enough, it is Gottlob Frick, one of the greatest Wagnerian basses in operatic history, who nearly sinks the boat. He sounds unsettlingly wobbly and antiquated during Sarastro's great arias ("O Isis und Osiris" and "In diesen heil'gen Hallen") but most unforgivably so during his first few moments on stage ("Steh auf, erheit're dich, o Liebe") and during the trio "Sol lich dich, Teurer" with Janowitz and Gedda. Franz Crass is imposing as the old Sprecher in his long duet with Gedda ("Wo willst du kühner Fremdling hin?"). He and Karl Liebl are sanctimonious as the two armed men in the Act II hymn "Der, welcher wandelt diese Straße voll Beschwerden"; he is also excellent with Unger as the two priests in the similar Act II duet "Bewahret euch von Weibertücken."

In short, when considering the multitude of recordings of Mozart's masterpiece, this recording would be a significant addition to any collection and an excellent point at which to begin one's Mozartian anthology.

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

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

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

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

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

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

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

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

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

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

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

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

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

Rossini: The Barber of Seville (Highlights)

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Rossini: The Barber of Seville (Highlights)

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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ASIN: B00004ZDLH
Release Date: 2000-10-24

Tracks:

Ov - LSO/James Levine
Act I, Scene 1: Pno, Pianissimo, Senza Parlar - Joseph Galiano/Nicolai Gedda/John Alldis Chor
Act I, Scene 1: Ecco Ridente In Cielo - Nicolai Gedda
Act I, Scene 1: Largo Al Factotum - Sherrill Milnes
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Act I, Scene 2: Una Voce Poco Fa - Beverly Sills
Act I, Scene 2: La Calunnia E Un Venticello - Ruggero Raimondi
Act I, Scene 2: Dunque Io Son - Beverly Sills/Sherrill Milnes
Act I, Scene 2: A Un Dottor Della Mia Sorte - Renato Caprecchi
Act II, Scene 1: Contro Un Cor Che Accende Amore - Beverly Sills/Nicolai Gedda
Act II, Scene 1: Don Basilio!...Cosa Veggo! - Beverly Sills/Nicolai Gedda/Sherrill Milnes/Renato Caprecchi/Ruggero Raimondi
Act II, Scene 1: Orsu, Signor Don Bartolo! - Sherrill Milnes
Act II, Scene 1: Ah, Quel Colpo Inaspettato! - Beverly Sills/Sherrill Milnes/Nicolai Gedda
Act II, Scene 1: Di Si Felice Innesto - Sherrill Milnes/Beverly Sills/Nicolai Gedda/John Alldis Chor

J. Strauss: Die Fledermaus / Schwarzkopf, Gedda, Streich, Krebs, Kunz, Christ; Karajan

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A great classic Strauss operetta preserved for the digital age.
Come with me to a supper.
Fledermaus With Style
Karajan drives bat into wall
What a treat!

J. Strauss: Die Fledermaus / Schwarzkopf, Gedda, Streich, Krebs, Kunz, Christ; Karajan
Johann Strauss , Herbert von Karajan , Elisabeth Schwarzkopf , Nicolai Gedda , Philharmonia Orchestra & Chorus , Rita Streich , Helmut Krebs , Erich Kunz , Rudolf Christ , Erich Majkut , Karl Donch , and Luise Martini
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000K4GE
Release Date: 1999-09-21

Tracks:

Ouverture - Philharmonia Orchestra
Taubchen, Das Entflattert Ist - Rita Streich
Ha-Ha-Ha! Da Schreibt Meine Schwester Ida - Kunz
Ich Muss Mir Fur Heute Abend Ausgang Erschwindeln! - Rita Streich
Ach, Ich Darf Nicht Hin Zu Dir! - Elisabeth Schwarzkopf
Wie Glucklich Die Alte Tante Ist... - Rita Streich
Nein, Mit Solchen Advokaten - Philharmonia Orchestra
Beruh'ge Endlich Diese Wut - Philharmonia Orchestra
Rekurrieren, Appellieren - Nicolai Gedda
Also, Noch Verscharft Die Strafe - Elisabeth Schwarzkopf
Komm Mit Mir Zum Souper - Nicolai Gedda
Ja, Was Ist Denn Los? Ihr Tanzt Und Singt? - Elisabeth Schwarzkopf
So Mu? Allain Ich Bleiben - Elisabeth Schwarzkopf
Er Weint Und Tanzt Zugleich - Elisabeth Schwarzkopf
Trinke, Liebchen, Trinke Schnell - Philharmonia Orchestra
Mein Herr, Was Dachten Sie Von Mir - Philharmonia Orchestra
Nein, Nein, Ich Zweifle Gar Nicht Mehr - Elisabeth Schwarzkopf

Tracks:

Ein Souper Heut' Uns Winkt - Hebert Von Karajan
Amusement! Amusement! - Elisabeth Schwarzkopf
Ich Lade Gern Mir Gaste Ein - Elisabeth Schwarzkopf
Das Sind Allerdings... - Elisabeth Schwarzkopf
Ach, Meine Herren Und Damen, Hier Gibt Es Einen Spa?! - Elisabeth Schwarzkopf
Mein Herr Marquis, Ein Mann Wie Sie... - Rita Streich
Na, Herr Marquis... - Elisabeth Schwarzkopf
Wie Fliehen Schnell Die Stunden Fort - Hebert Von Karajan
Es Ist Also Wirklich Wahr... - Elisabeth Schwarzkopf
Dieser Anstand, So Manierlich - Elisabeth Schwarzkopf
Haha, Liber Marquis... - Elisabeth Schwarzkopf
Klange Der Heimat - Elisabeth Schwarzkopf
Ausgezeichnet, Bravo! - Nicolai Gedda
Im Feuerstrom Der Reben - Nicolai Gedda
Herr Chevalier, Ich Grusse Sie... - Elisabeth Schwarzkopf
Genug, Damit, Genug!... - Elisabeth Schwarzkopf
Entreakt - Philharmonia Orchestra
Hallo, Also Das Ist Ein Fideles Gefangnis - Helmut Krebs
Hahaha, Da Bin Ich Wieder In Meinem Palais - Karl Donch
Ah, Der Herr Direktor Ist Schon Da! - Rita Streich
Spiel' Ich Die Unschuld Vom Lande - Rita Streich
Bra