Karl Böhm & Yehudi Menuhin in Concert

On this CD:

1. Violin Concerto in D major, Op. 61 violin concerto, arranged for flute
Composed by Ludwig van Beethoven
Performed by Vienna Philharmonic Orchestra with Sir Yehudi Menuhin
Conducted by Karl Bohm

2. Variations on a Theme of Haydn for orchestra in B flat major (St. Anthony Variations), Op. 56a
Composed by Johannes Brahms
Performed by Bavarian Radio Symphony Orchestra
Conducted by Karl Bohm

Tracks:

The Blue Danube - (Waltz) - J. STRAUS SR./STRAUSS*J. JR.
Anna Polka - (French Polka) - J. STRAUS SR./STRAUSS*J. JR.
Morning Papers - (Waltz) - J. STRAUS SR./STRAUSS*J. JR.
At The Hunt - (Polka) - J. STRAUS SR./STRAUSS*J. JR.
Light of Heart - (Fast Polka) - J. STRAUS SR./STRAUSS*J. JR.
Wine, Women And Song - (Waltz) - J. STRAUS SR./STRAUSS*J. JR.
Pleasure - Train - (Fast Polka) - J. STRAUS SR./STRAUSS*J. JR.
Vienna Bonbons - (Waltz) - J. STRAUS SR./STRAUSS*J. JR.
Perpetual Motion - J. STRAUS SR./STRAUSS*J. JR.
Accelarations - (Waltz) - J. STRAUS SR./STRAUSS*J. JR.
Pizzicato - Polka - (Johann And Josef Strauss) - J. STRAUS SR./STRAUSS*J. JR.
Tales From The Vienna Woods - (Waltz) - J. STRAUS SR./STRAUSS*J. JR.

Tracks:

The Emperor Waltz - Vienna Philharmonic Orchestra
Thunder and Lightning - (Fast Polka) - Vienna Philharmonic Orchestra
Die Fledermaus: Overture - Vienna Philharmonic Orchestra
Voices of Spring - (Waltz) - Vienna Philharmonic Orchestra
Prince Methusalem: Bandit Gallop - (From 'Prince Methusalem') - Vienna Philharmonic Orchestra
Artist's Life - (Waltz) - Vienna Philharmonic Orchestra
Persian March - Vienna Philharmonic Orchestra
Roses from the South - (Waltz) - Vienna Philharmonic Orchestra
Eljen a Magyar! - (Fast Hungarian Polka) - Vienna Philharmonic Orchestra
Chit-Chat Polka - Vienna Philharmonic Orchestra
Vienna Blood - Vienna Philharmonic Orchestra
Radetzky-March - (Johann Strauss, Father) - Vienna Philharmonic Orchestra

Customer Reviews:

Repackaged New Year's Concert 1984 with VPO, etc........2005-02-23

If I'm not mistaken, most of the pieces were recorded originally live during a 1984 New Year's Concert conducted by Lorin Maazel with the Vienna Philharmonic playing in its grand concert hall, the Musikverein. Maazel and the Vienna Philharmonic have had a longstanding relationship dating from the 1960's, and without question, this CD does rank among my favorite New Year's Concert performances (However, the most mesmerizing ones I've heard have been those with the late Carlos Kleiber and Nikolaus Harnoncourt conducting.) for the superb quality of the Vienna Philharmonic's playing. Maazel leads the Vienna Philharmonic Orchestra in some of the most popular works composed by the Strauss family, most notably Johann II Strauss' Tales from the Vienna Woods Waltz, Emperor Waltz, Pizzicato Polka, Blue Danube Waltz and his father's Radetzky March, which traditionally closes out the annual New Year's Concert. Fans of the Strauss family, Vienna Philharmonic and Lorin Maazel, will not be disappointed with this excellent two CD compilation.

I am glad I bought this one.......2003-04-25

I listen to this cd to relax and it is so soothing. It starts with The blue Danube, which is my favorite. But the rest of the songs do not disapoint.

Great Music as usual.......2002-10-08

This is great recording,
I enjoy listening to it
veru much. This is a
compilation of all the
favorite waltzes by
the Strauss family, that
one might hear at a
New Year's eve concert
of the Vienna Philharmonic...
All waltzes and Polkas are
favorites of audiences everywhere
in the world...

A gem!.......2001-10-29

Who else knows Strauss better than Viennese? I attest that no other orchestra in the world plays Strauss better than the Vienna Philharmonic. Their light sound is exactly what the composer wanted, and it really makes other clumsy, heavy attempts by some other orchestras like Berlin and Chicago seem pathetic.

As far as the content of these CDs go, they are fantastic. They have every waltz, march, and polko of Strauss II that you could possibly want, as well as a nice addition of "Radetzky March" by the composer's father. If you are looking for a Johann Strauss Jr. CD, get this one!

Amazing truly Amazing.......2000-05-09

This 2 CD is amazing. It is great for plane rides and other things. I always listen to it at work. Allmost every song on this CD is beautiful and graceful. The blue danube is a classic and my personal favorite song on this album. Some of the songs are okay but none are bad. Overall this is an amazing 2 CD collection and it is worth every cent of your money . . .

Twilight of the Gods: The Essential Wagner Collection

Average customer rating:

Wonderful collection and price!
Awesome collection!
Helicopters? Marines?
A great addition to my music collection
Quintessential Wagner

Twilight of the Gods: The Essential Wagner Collection

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Wagner: Overture & Preludes
The Best Of Wagner
Wagner: The "Ring" Without Words
Wagner without Words
25 Thunderous Classics

ASIN: B000009ON7
Release Date: 1998-08-11

Tracks:

The Valkyries: Ride Of The Valkyries
Twilight Of The Gods: Siegfried's Funeral March
Lohengrin: Prelude to Act III
The Flying Dutchman: Overture
The Flying Dutchman: Sailors' Chorus
The Rheingold: Journey Down To Nibelheim
The Mastersingers Of Nuremberg: Overture
Tannhauser: Overture
Tannhauser: Entry Of The Guests
Tannhauser: Tannhauser's Pilgrimage
Siegfried: Act III Orchestral Interlude
Twilight Of The Gods: Siegfried's Rhine Journey
Twilight Of The Gods: Finale
The Rheingold: Entry Of The Gods Into Valhalla

Tracks:

Lohengrin: Prelude To Act I
Lohengrin: Bridal Chorus
Parsifal: Prelude to Act I
Parsifal: Good Friday Music
Parsifal: Transformation Scene
Tannhauser: Venusberg Music
Tannhauser: Pilgrims Chorus
The Mastersingers Of Nuremburg: Prelude To Act III
The Rheingold: Vision Of Valhalla (Scene II Introduction)
Siegfried Idyll
Siegfried: Brunnhildes Awakening
Tristan And Isolde: Prelude To Act III
Tristan And Isolde: Death Of Isolde

Amazon.com

If you like your Wagner served up in bleeding chunks or if you're simply in a hurry to hear the tunes, then this compilation is for you. The performances, drawn from the Polygram (mainly Deutsche Grammophon) back catalog, are for the most part authoritative. They feature the likes of Herbert von Karajan, with the Berlin Philharmonic, and Karl Böhm, with the Bayreuth Festival Orchestra (and chorus), in extracts from recordings of complete operas, and conductors Giuseppe Sinopoli, Otto Gerdes, and Antal Doráti in some of the more familiar overtures and preludes. Singing, without which it is impossible to get the full flavor of Wagner's work, is skirted whenever possible: this is an unapologetic tribute to Wagner the orchestral genius. At times the salesmanship is a little overblown--the glitzy packaging includes a cover shot of the helicopters from Apocalypse Now--and the sound, some of it from very good originals, seems to have been juiced with a little added digital reverb, resulting in an overall glassiness. The gaps between tracks are minimized, disco style, so there's no dead air, and the whole thing has an Entertainment Tonight feel to it. Were he around, Wagner would have screamed bloody murder, then happily taken his cut of the action. For today's on-the-go listener, this may well be the most practical way to enjoy Wagner's music, but we won't be happy until it motivates at least one newcomer to seek out a recording of a complete opera. Anyone who does that will find out what "apocalypse" really means. --Ted Libbey

Customer Reviews:

Wonderful collection and price!.......2007-05-11

I found this to be a nice collection of favorites, especially to keep in the car and listen to. It is a variety of well known compilations. Although not encompassing, it is perfect as a review for driving, relaxing, and enjoyment. Plus, the price is right!

Awesome collection!.......2007-01-10

This is a great collection of some of Wagner's most memorable songs for those of you who do not want to buy the whole opera's for some of his works.

Helicopters? Marines?.......2006-12-05

Do those infotainment marketing mavens ever get it right? Talk about Hollywood disconnect! Not only are the helicopters irrelevant, but to quote from the gushy drivel on the jacket, "The gripping power of Richard Wagner's music was demonstrated with spectacular effect in...Apocalpse Now, when the "Ride of the Valkyries' became synonymous with the chilling journey of Marine 'Huey' helicopters into battle..."

Marine? Marine? Them Hueys in the movie was ARMY Air Cav, slick! "First of the ninth--air mobile." If you're going to dally down that primrose path, at least get it right.

Better yet, drop the choppers. Most people who listen to Wagner probably realize that quality of an artistic work has a mystically inverse relationship to the number of helicopters contained in it.

As for the music, it is good, but the operatic equivalent of sound bites, which may be just right for people who are new to Wagner or just can't take very much of him. Hmm...perfect for a helicopter ride, perhaps?

A great addition to my music collection.......2006-07-20

This CD takes the place of all my other Wagner music. VERY well done. Somehow I didn't realize that there were two cds in the package--what a pleasant surprise! Of the two cds, I like the first one best, but they are both good. I listen to this cd daily on my way to work. Stirring! I am so glad that I purchased this. Some purists might have a problem with the fact that some of the selections are not there in their entirety. I have no problem with that though. I recommend this to anyone who loves Wagner.

Quintessential Wagner.......2006-05-15

Okay, so I like Wagner. I LOVE "Ride Of The Valkyries". Do I want to go out and buy every single stinkin thing Wagner did? No. If you are a die-hard Wagner fan you probably will not think much of this collection.

But if you like Wagner and appreciate "Ride Of The Valkyries", and maybe require it in just a little more substance than what is included in "Apocolypse Now Redux", then this is what you want. The extra tracks are bonuses and are quite good. Meets my needs, presentation great, performance excellent. I recommend it for anyone that needs a Wagner fix.

Metropolitan Opera Gala Honoring Sir Rudolf Bing [Highlights]

Average customer rating:

A VERY SPECIAL EVENING AT THE MET

Metropolitan Opera Gala Honoring Sir Rudolf Bing [Highlights]

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music

$9.99 and Under | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Opera & Vocal | Classical Music Blowout | Stores | Music
Similar Items:

La Nilsson: My Life in Opera
Wolfgang Windgassen singt Wagner
Rossini - L'Italiana in Algeri
Verdi: Un Ballo in Maschera
Eileen Farrell in New Orleans

ASIN: B000M05VNY
Release Date: 2007-03-13

Customer Reviews:

A VERY SPECIAL EVENING AT THE MET.......2007-04-06

The 1972 Gala that honored the retirement of the late Sir Rudolf Bing was one of the first big international opera galas of note. I was a mere high schooler when highlights of the gala were aired on television, hosted by Rise Stevens. An LP of highlights was released (a slew of copies were produced domestically with a defect on the second side that had to be recalled). Shortly after this DGG announced a SECOND LP of highlights that would include additional items, including Dorothy Kirsten, Joan Sutherland, Luciano Pavarotti and others from the same gala. It never materialized.

When DGG announced the CD version, I was ever hopeful those unreleased items would finally see the light of day. Sadly, that's not the case. What we have left is a mixed bag. Arroyo expressive but unsteady, a young Domingo with Caballe sounding undermiked, Nilsson ripping the roof off, Price skipping the recitative and not in best voice, Tucker and Merrill trying to outshout each other, Resnik hamming it up, Zylis-Gara and Corelli's only evidence of Otello on record with the fans ruining the beautiful orchestral ending of the duet. Despite all my negatives, this CD is evidence of a very special evening in New York when the operatic lights shone a lot brighter than they do now, the likes of which will never be seen or heard again. It would get five stars if the missing items had been included.

Average customer rating:

Excellent readings of the last six symphonies...
Radiant performances!
Wonderful Sound Quality and Precision
Other than Bruno Walter's
Efficient interpretations and lovely playing, but there's more to Mozart

Mozart: Symphonies Nos. 35-41

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Beethoven: 9 Symphonies
Mozart: The Great Piano Concertos, Vol. 1
Beethoven: Symphonien Nos. 5 & 7 / Kleiber, Vienna Philharmonic Orchestra
Mozart: The Great Piano Concertos, Vol. 2
Tchaikovsky: Symphonies no 4, 5, & 6 / Karajan, Berlin PO

ASIN: B000001GQB
Release Date: 1996-01-23

Tracks:

Symphonie No. 35 - Dur KV 385 'Haffner Symphonie': Allegro Con Spirito
Symphonie No. 35 - Dur KV 385 'Haffner Symphonie': (Andante)
Symphonie No. 35 - Dur KV 385 'Haffner Symphonie': Menuetto - Trio
Symphonie No. 35 - Dur KV 385 'Haffner Symphonie': Finale. Presto
Symphonie No. 36 - Dur KV 425 'Linzer Symphonie': Adagio - Allegro Spiritoso
Symphonie No. 36 - Dur KV 425 'Linzer Symphonie': Andante
Symphonie No. 36 - Dur KV 425 'Linzer Symphonie': Menuetto - Trio
Symphonie No. 36 - Dur KV 425 'Linzer Symphonie': Presto
Symphonie No. 38 - Dur KV 504 'Prager Symphonie': Adagio - Allegro
Symphonie No. 38 - Dur KV 504 'Prager Symphonie': Andante
Symphonie No. 38 - Dur KV 504 'Prager Symphonie': (Finale.) Presto

Tracks:

Symphonie No. 39 Es-dur KV 543: Adagio - Allegro
Symphonie No. 39 Es-dur KV 543: Andante Con Moto
Symphonie No. 39 Es-dur KV 543: Menuetto. Allegretto - Trio
Symphonie No. 39 Es-dur KV 543: Finale. Allegro
Symphonie No. 40 g-moll KV 550: Molto Allegro
Symphonie No. 40 g-moll KV 550: Andante
Symphonie No. 40 g-moll KV 550: Menuetto. Allegretto - Trio
Symphonie No. 40 g-moll KV 550: Allegro Assai
Symphonie No. 41 C-Dur KV 551 'Jupiter Symphonie': Allegro Vivace
Symphonie No. 41 C-Dur KV 551 'Jupiter Symphonie': Andante Cantabile
Symphonie No. 41 C-Dur KV 551 'Jupiter Symphonie': Menuetto. Allegretto - Trio
Symphonie No. 41 C-Dur KV 551 'Jupiter Symphonie': Molto Allegro

Amazon.com essential recording

Karl Bohm was one of this century's great Mozart conductors--a fact that's apt to be forgotten in the flood of authentic instrument productions, many of them on DG's associated labels. He conducted Mozart with real love and affection, maintaining moderate tempos, allowing each work's gorgeous melodies a chance to sing and breathe. Mozart's symphonic music has its roots in the opera house, and so did Bohm. Listening to the witty woodwind interjections in the finale of Symphony No. 39, for example, you can readily imagine the witty exchanges of different characters in one of Mozart's comic operas. These beautifully recorded versions of Mozart's greatest symphonies belong in the collection of every fan of the composer. --David Hurwitz

Customer Reviews:

Excellent readings of the last six symphonies..........2007-03-09

I was listening to these again last night and I have to say, Bohm knows his Mozart. Then again, so does the Berlin Philharmonic. Bohm always seems to pick the right tempo, never too fast but not too slow either. The perfect example is the opening of the 39th, where Bohm revels in creating a big engulfing sound during the slow introduction; however as soon as the allegro kicks in, tempi and tones have a spring in their step. For me, this is one of the great versions of the 39th, even in spite of a few sloppy moments in the latter movements. He submits an excellent 35th and 36th, again with moderate tempi but wonderfully Mozartean phrasing, somewhat surprising since when Bohm recorded these, "Period Instruments" weren't even a twinkle in Harnoncourt's eye, and "Romantic" readings were all the rage for Mozart. Bohm's steadiness with these interpretations is only matched by his ear for detail; better, say, than Marriner, who is unquestionably steady, but whose readings lack spontenaity, and more consistent than Szell, whose 40th is one of the great readings, but whose 39th falls flat and whose brass/woodwinds can't handle their increased role in the Jupiter symphony.
Considering the age of these recordings (early- to mid-60s), they also sound remarkably clean and clear, and all of the parts can easily be heard; although I would credit Bohm with some of this as he was always excellent at creating space and keeping all of Mozart's many layers exposed to the listener. I have a number of different accounts of Mozart's last six symphonies (Marriner, Bernstein, Karajan, Szell 35, 39-41, Mackerras), but pound for pound, this one is the best. If you still aren't happy with the versions you own, this set may be your stopping point.

Radiant performances!.......2007-02-03

The Symphony No. 41 in C major Kv 551 best known as Jupiter retakes and maintains the most representative epic spirit of Mozart like any one Symphony. It breaths liberty, Dionysian pleasure and that essential rapture so common in the masterpieces. And under Bohm's baton exudates full aristocratic sound.

In spite of the fact it has been recorded so many times, just a few directors have been able to extract and carve in relief the majestic splendor of this K.

On the other hand the version of the 38th Symphony is simply majestic and radiant. Bohm never abuses of excess of elegance and his pristine lyricism may be easily realized.

Karl Bohm was indeed, one of the most representative Ambassadors of the Mozart symphonic repertoire. The Berlin Philharmonic, fortunately still maintained the noble sound inherited from Furtwangler and then Fricsay and that was a decisive fact to his favor.

Wonderful Sound Quality and Precision .......2006-03-24

Precision. That is what comes to my mind when listening to a Karl Bohm interpretation of Mozart. Mozart's final symphonies are ageless masterpieces of music. Anyone can recognize the opening Allegro moto of Symphony No. 40 in G-Minor (one of Mozart's only symphonies in a minor key). Just finding a collection with these wonderful symphonies is a great find.

As to the sound quality, Deutsch Gramophone spent extra time and resources into reissuing these originally analog recordings. It is nice to be able to hear every woodwind in balance and the string sections in their glory. The sound does not seem forced or artificial and the quality is absolutely superb.

These recordings were completed during the height of Bohm's time as a conductor. His interpretations are truly "viennese" in that tempos and structure are very precise and meticulous. Some may think his tempi are slow or plodding, but they offer a very nice interpretation that perhaps was accepted in Mozart's era. The 35th, 39th, and 41st symponies in the set are my favorites.

I would also suggest looking at George Szell's performances with the Cleveland Orchestra, for they offer a different interpretation but are also superb.

Other than Bruno Walter's.......2006-01-21

Columbia SO recordings (NOT with the New York PO) , which are OOP, this Bohm is the one to have, the only one you need actually. As I've heard at least 6 other major conductors, Klemperer , Mackerraas, both Levine's etc etc.
The only 2 I kept are the Walter ,got mine from a used cd dealer in the UK online :-) and the Bohm, complete sym set, which is the way to go for Mozart fans. There's quite a few very good syms in the 1-34.
All that stuff you read about Bohm being a "kapplemiester" (germanic style/cold), old fashioned, tutonic, is very misleading. I hear nothing of the sort and wish these comments would stop.
Though I was forwarned about Bohm being off track in approach with his german orch, I sense there is some anti-german sentiments in these negative comments about Bohm. None of this criticism leveled against Bohm is factual, only a prejudice in their minds.

As to
Details, tempos, instrument quality, sound quality, orch size all are in perfect harmony with Mozart.
. Bohm and the Berlin show forth a understanding of Mozart that none except Walter can rival.
The Klemper/Philharmonia on TESTAMENT, not the EMI release(which are duds) are not too bad, but not in the same category as either Bohm or Walter.
I sat down one day and compred all 3, and concluded the Klemperer were not necessary , for sound issues and also not on par with Bohm's definitive recording.

EDIT: I should mention that i read on a forum recently, he recalled Bohm from his vinyl set that the performances were 'a bit dull". Bohm does not speed read. Any conductor that takes Mozart too fast is doing a disservice to these richly detailed scores. Mozart requires detailed attention, which is what Bohm brings. Yet the life is there, not dull at all.
EDIT on Feb 21/07...
Mackerras' Prague is not in the same league as the Berlin. Many of the soloists in this Berlin use instruments that bring out a chamber flaor, and also Bohm kept the orch smaller than many other orch's. This smaller chamber sound brings more to Mozart than many other recodings I;'ve heard. Even Walter's Columbia is "big sound", yet Walter's does present a "Mozartian" image. Bohm goes even further. Many other like conductors record Mozart with a "Beethovenian" sound. That us large orch/heavy/darker.

Paul Best
Baton Rouge

Efficient interpretations and lovely playing, but there's more to Mozart.......2005-09-25

I can see someone admiring these recordings, since they are very well executed and crisply presented, with no major flaws. And I can see why Mozart was considered one of Karl Bohm's best composers if you like his foursquare, unsmiling approach. Apparently many other listeners and reviewers don't demand more than what this bargain set of the last six symphonies delivers.

But Bohm's traditional Teutonic conducting sounds pretty limited to me, not because of the "authentic" movement now in vogue but because great Mozart conducting must be joyous, light on its feet, and full of wit and alertness. Bohm is brisk and efficient instead. Bruno Walter was born even earlier than Bohm, and yet he got all those things right. That's why I return to him again and again, not to this set, much as I love the Berlin Phil.

Average customer rating:

A benchmark
You've got to have it
Good starting point for beginners
Karajan versus Bohm in Cosi
Interpretation that may never return

Mozart: Così fan tutte

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

Opera & Vocal | Box Sets | Stores | Music
Similar Items:

Mozart: Don Giovanni
Strauss - Der Rosenkavalier / Schwarzkopf · Ludwig · Karajan
Beethoven: Fidelio
Mozart: Die Zauberflote
Verdi - Aida / Caballé · Domingo · Cossotto · Ghiaurov · Cappuccilli · Roni · NPO · Muti

ASIN: B00004VVZM
Release Date: 2000-08-15

Tracks:

Ov - Philharmonia Orch/Karl Bohm
Act One, Scene One: La Mia Dorabella Capace Non E - Alfredo Kraus/Giuseppe Taddei/Walter Berry
Act One, Scene One: Fuor La Spada - Alfredo Kraus/Giuseppe Taddei/Walter Berry
Act One, Scene One: E La Fede Delle Femmine - Alfredo Kraus/Giuseppe Taddei/Walter Berry
Act One, Scene One: Scioccherie Di Poeti! - Alfredo Kraus/Giuseppe Taddei/Walter Berry
Act One, Scene One: Una Bella Serenata - Alfredo Kraus/Giuseppe Taddei/Walter Berry
Act One, Scene Two: Ah, Guarda, Sorella - Elisabeth Schwarzkopf/Christa Ludwig
Act One, Scene Two: Mi Par Che Stamattina - Elisabeth Schwarzkopf/Christa Ludwig/Walter Berry
Act One, Scene Two: Barbaro Fato!...Vorrei Dir, E Cor Non Ho - Walter Berry
Act One, Scene Two: Stelle! Per Carita, Signor Alfonso - Elisabeth Schwarzkopf/Walter Berry/Christa Ludwig
Act One, Scene Two: Sento, Oddio, Che Questo Piede - Giuseppe Taddei/Alfredo Kraus/Walter Berry/Elisabeth Scwarzkopf/Christa Ludwig
Act One, Scene Two: La Commedia E Graziosa - Walter Berry/Elisabeth Schwarzkopf/Christa Ludwig/Alfredo Kraus/Giuseppe Taddei
Act One, Scene Two: Bella Vita Militar! - Philharmonia Chor/Karl Bohm
Act One, Scene Two: Non V'e Piu Tempo - Walter Berry/Elisabeth Schwarzkopf/Christa Ludwig/Alfredo Kraus/Giuseppe Taddei...
Act One, Scene Two: Muoio D'affano!...Di Scrivermi Ogni Giorno - Walter Berry/Elisabeth Schwarzkopf/Christa Ludwig/Alfredo Kraus/Giuseppe Taddei...
Act One, Scene Two: Bella Vita Militar! - Philharmonia Chor/Karl Bohm
Act One, Scene Two: Dove Son? - Christa Ludwig/Walter Berry/Elisabeth Schwarzkopf
Act One, Scene Two: Soave Sia Il Vento - Elisabeth Schwarzkopf/Christa Ludwig/Walter Berry
Act One, Scene Two: Non Son Cattivo Comico - Walter Berry
Act One, Scene Three: Che Vita Maledetta - Hanny Steffek/Elisabeth Schwarzkopf/Christa Ludwig
Act One, Scene Three: Ah, Scostati! - Christa Ludwig
Act One, Scene Three: Smanie Implacabili Che M'agitate - Christa Ludwig
Act One, Scene Three: Signora Dorabella, Signora Fiordiligi - Hanny Steffek/Christa Ludwig/Elisabeth Schwarzkopf
Act One, Scene Three: In Uomini, In Soldati Sperare Fedelta? - Hanny Steffek
Act One, Scene Three: Che Silenzio! Che Aspetto Di Tristezza - Walter Berry/Hanny Steffek
Act One, Scene Three: Alla Bella Despinetta - Walter Berry/Alfredo Kraus/Giuseppe Taddei/Hanny Steffek/Elisabeth Schwarzkopf/Christa Ludwig
Act One, Scene Three: Che Sussurro! Che Strepito! - Walter Berry/Alfredo Kraus/Giuseppe Taddei/Hanny Steffek/Elisabeth Schwarzkopf/Christa Ludwig
Act One, Scene Three: L'intatta Fede - Elisabeth Schwarzkopf
Act One, Scene Three: Come Scoglio Immoto Resta - Elisabeth Schwarzkopf
Act One, Scene Three: Ah, Non Partite! - Alfredo Kraus/Giuseppe Taddei/Walter Berry/Christa Ludwig/Elisabeth Schwarzkopf
Act One, Scene Three: Non Siate Ritrosi - Giuseppe Taddei
Act One, Scene Three: E Voi Ridete? - Walter Berry/Alfredo Kraus/Giuseppe Taddei
Act One, Scene Three: La Cagion Di Quel Riso? - Walter Berry/Alfredo Kraus/Giuseppe Taddei
Act One, Scene Three: Un'aura Amorosa Del Nostro Tesoro - Alfredo Kraus

Tracks:

Act One, Scene Four: Ah, Che Tutto In Un Momento - Elisabeth Schwarzkopf/Christa Ludwig
Act One, Scene Four: Ah, Che Del Sole Il Raggio - Alfredo Kraus/Giuseppe Taddei/Walter Berry/Elisabeth Schwarzkopf/Christa Ludwig/Hanny Steffek
Act One, Scene Four: Eccovi Il Medico - Alfredo Kraus/Giuseppe Taddei/Walter Berry/Elisabeth Schwarzkopf/Christa Ludwig/Hanny Steffek
Act One, Scene Four: Dove Son? Che Loco E Questo? - Alfredo Kraus/Giuseppe Taddei/Walter Berry/Elisabeth Schwarzkopf/Christa Ludwig/Hanny Steffek
Act One, Scene Four: Dammi Un Bacio, O Mio Tesoro - Alfredo Kraus/Giuseppe Taddei/Walter Berry/Elisabeth Schwarzkopf/Christa Ludwig/Hanny Steffek
Act Two, Scene One: Madame...Trattar L'amore - Hanny Steffek/Elisabeth Schwarzkopf/Christa Ludwig
Act Two, Scene One: Una Donna A Quindici Anni - Hanny Steffek
Act Two, Scene One: Sorella, Cosa Dici? - Christa Ludwig/Elisabeth Schwarzkopf
Act Two, Scene One: Prendero Quel Brunettino - Christa Ludwig/Elisabeth Schwarzkopf
Act Two, Scene Two: Secondate, Aurette Amiche - Alfredo Kraus/Giuseppe Taddei/Philharmonia Chor
Act Two, Scene Two: Cos' E Tal Mascherata? - Elisabeth Schwarzkopf/Christa Ludwig/Hanny Steffek/Alfredo Kraus/Giuseppe Taddei/Walter Berry
Act Two, Scene Two: La Mano A Me Date - Walter Berry/Alfredo Kraus/Giuseppe Taddei/Hanny Steffek
Act Two, Scene Two: Oh, Che Bella Giornata! - Elisabeth Schwarzkopf/Alfredo Kraus/Christa Ludwig/Giuseppe Taddei
Act Two, Scene Two: Il Core Vi Dono - Giuseppe Taddei/Christa Ludwig
Act Two, Scene Two: Barbara, Perche Fuggi? - Alfredo Kraus/Elisabeth Schwarzkopf
Act Two, Scene Two: Ei Parte...Senti...Ah No! - Alfredo Kraus/Elisabeth Schwarzkopf
Act Two, Scene Two: Per Pieta, Ben Mio, Perdona - Elisabeth Schwarzkopf
Act Two, Scene Two: Amico, Abbiamo Vinto! - Alfredo Kraus/Giuseppe Taddei
Act Two, Scene Two: Donne Mie, La Fate A Tanti A Tanti - Giuseppe Taddei
Act Two, Scene Two: In Qual Fiero Contrasto - Alfredo Kraus
Act Two, Scene Two: Tradito, Schernito - Alfredo Kraus

Tracks:

Act Two, Scene Three: Ora Vedo Che Siete Una Donna Di Garbo - Hanny Steffek/Christina Ludwig/Elisabeth Schwarzkopf
Act Two, Scene Three: E Amore Un Ladroncello - Christa Ludwig
Act Two, Scene Three: Come Tutto Congiura - Elisabeth Schwarzkopf/Giuseppe Taddei/Hanny Steffek
Act Two, Scene Three: Fra Gli Amplessi In Pochi Istanti - Elisabeth Schwarzkopf/Alfredo Kraus
Act Two, Scene Three: Ah, Poveretto Me, Cosa Ho Veduto! - Elisabeth Schwarzkopf/Walter Berry/Alfredo Kraus
Act Two, Scene Three: Tutti Accusan Le Donne - Walter Berry/Alfredo Kraus/Giuseppe Taddei
Act Two, Scene Four: Fate Presto, O Cari Amici - Hanny Steffek/Philharmonia Chor/Karl Bohm/Walter Berry
Act Two, Scene Four: Benedetti I Doppi Coniugi - Philharmonia Chor/Karl Bohm/Elisabeth Schwarzkopf/Christa Ludwig/Alfredo Kraus/Giuseppe Taddei
Act Two, Scene Four: E Nel Tuo, Nel Mio Bicchiero - Elisabeth Schwarzkopf/Alfredo Kraus/Christa Ludwig/Giuseppe Taddei
Act Two, Scene Four: Miei Signori, Tutto E Fatto - Walter Berry/Elisabeth Schwarzkopf/Christa Ludwig/Alfredo Kraus/Giuseppe Taddei/Hanny Steffek
Act Two, Scene Four: Bella Vita Militar! - Philharmonia Chor/Karl Bohm/Elisabeth Schwarzkopf/Christa Ludwig/Hanny Steffek/Alfredo Kraus...
Act Two, Scene Four: Richiamata Da Regio Contrordine - Alfredo Kraus/Giuseppe Taddei/Walter Berry/Elisabeth Schwarzkopf/Christa Ludwig/Hanny Steffek
Act Two, Scene Four: Ah, Signor, Son Rea Di Morte - Alfredo Kraus/Giuseppe Taddei/Walter Berry/Elisabeth Schwarzkopf/Christa Ludwig/Hanny Steffek
Act Two, Scene Four: Fortunato L'uom Che Prende - Elisabeth Schwarzkopf/Christa Ludwig/Giuseppe Taddei/Alfredo Kraus/Hanny Steffek/Walter Berry...

Customer Reviews:

A benchmark.......2007-07-03

After reading the brilliant review of this recording by Mike Birman (Brooklyn, New York USA), I have to echo all of his reasoning for according it five stars. A benchmark recording!

You've got to have it.......2006-11-04

This is a great Cosi production. Karl Bohm is the best conductor for Mozart in his days. I think Alfredo Kraus sounds fabulous in this recording.

Good starting point for beginners.......2006-03-29

Cosi fan tutte is my favorite opera, and I have been searching for the "perfect" Cosi recording for years. While I agree that this is a good recording, I can't say this recording is "the definitive one." After all, it doesn't even include Ferrando's "Ah, lo veggio" in Act II. The recitatives are also somewhat abridged, which takes away from the theatrical and dramatic aspect of this work (afterall, opera is musical _theatre_).

Having said that, if you do no currently own a recording of Cosi, you should buy this first, because it is one of the most well-rounded studio recordings, and for a very good price.

Pros:
- Low price
- Schwarzkopf is probably /the/ best Fiordiligi on record at this time. Her voice is rich and expressive, and her rendition of the 2 arias (Come Scoglio in Act I and Per pieta in Act II) sounds like liquid gold.
- Christa Ludwig sings a beautiful Dorabella too, but it's not the same calibre as her performance as Octavian
- Good, even-tempered interpretation by Bohm makes this particularly newbie-friendly.

Cons:
- Incomplete: "Ah lo veggio" is rarely performed, probably because it's so hard to pull off successfully (Jerry Hadley is the only tenor I've heard that can do it). But still, it's an integral part of Ferrando's character and one of the best parts of the entire opera. If you haven't heard this aria, you haven't heard Cosi.
- Flat: Bohm's overall tempo is slow. Yes, it is very "pretty," but at what cost? Take Despina's Act II aria, "Una donna a quindici'anni" for example. It's "grazioso" in the extreme, but there isn't much else there.

In summary, it's a good, inoffensive interpretation (graced by the incomparable Schwarzkopf), which makes it a good introductory recording, but definitely not in the running for "THE COSI FOR ALL TIME." In fact, I haven't yet found a recording that fits that description.

Karajan versus Bohm in Cosi.......2006-03-20

Whereas EMI was fortunate enough to make one Don Giovanni and one Marriage of Figaro for the ages, both under Giulini, they achieved mixed results with two versions of Cosi fan tutte. Neither is an obvious first choice, so I thought it was worthwhile comparing their respective pluses and minuses.

Karajan (1954): This mono recording is in good enough sound to compete successfully with Bohm's stereo version, with the singers placed very close up. They achieve a great deal of intimacy and nuance. Karajan favors tempo extremes, taking Schwarzkopf's two big arias, as well as her opening duet with Merriman, quite slowly. Stylistically, his approach is ultra-suave, which yields benefits in Bruscantini's sly urbanity as Don Alfonso, for example, but in the long run proves more than a little precious. As Fiordiligi, Schwarzkopf is younger and fresher than in Bohm's set, but there she has gained in artistry. Simoneau and Panerai are great as the two heros, probably the best pair on records. Nan Merriman as Dorabella is musically satisfying, but she has a fast beat in her voice that wears after a while.

Bohm (1963): This later performance is in good stereo, with the voices placed further from the mike than in Karajan's recording. Where Karajan is suave, Bohm is blunt. He misses many opportunities for subtle phrasing, yet given the choice, I'd rather hear his plain-faced Cosi than Karajan's overly sophisticated one. As to tempos, bohm is rrelaxed and often just as slow as Karajan--period performances from Ostmann, Gardiner and Jacobs go much faster. In the Karajan set the men were stronger than the laides; here it's the reverse. Schwarzkopf and Ludwig make ideal sisters, unrivalled for their musicality, even if Schwarzkopf can no longer quite negotiate Fiodiligi's cruelly difficult arias. The male pair are certainly good, but I find Alfredo Kraus's voice dry and his manner stiff; Taddei is fine, howevr. Walter Berry makes for a bluff Don Alfonso without a trace of Bruscantini's sly malice.

Naturally, thee's much more to say in detail, but I think I've given a fair sketch of the two performances. I've lived with both for a long time, and it pains me to say that on balance I prefer Karl Bohm, even though he is far from being a favorite conductor. The comvinaiton of Schwarzkopf and Ludwig carries the day.

Interpretation that may never return.......2005-05-08

"Interpretation that may never return". That's how gramophone magazine has closed it's review for Bohm's Cosi, and how can we disagree with this? A magnificent recording with Walter Legge at the head of the production, 9 years after his first Cosi made with Karajan in 1954, (perhaps the best Cosi in gramophone) he returned with this 1963 stereo remake of mozart's masterpiece with impressive results. The only thing that may someone say is that maybe Bohm is not as "happy" as he should be for this comic opera but as we know he never faced mozart music as a laughing matter, anyway the result Justifies him in every prospective.

Average customer rating:

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

Tristan Und Isolde

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Ludwig, Christa | Divas | Opera & Vocal | Styles | Music

Nilsson, Birgit | Divas | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music

Blowout Box Sets | Classical Music Blowout | Stores | Music

More Titles at Least 20% Off | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Opera & Vocal | Classical Music Blowout | Stores | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Wagner: Lohengrin
Wagner - Die Meistersinger von Nurnberg / Kollo · Donath · Adam · G. Evans · Schreier · Hesse· Riderbusch · Karajan
Wagner: Tristan und Isolde
Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti
Mozart: Don Giovanni

ASIN: B000001GXS
Release Date: 1997-11-11

Tracks:

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

Tracks:

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

Tracks:

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

Amazon.com

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Mozart: Die Zauberflöte [The Magic Flute]

Average customer rating:

As an ensemble, no other one...
Roberta Peters' Queen - Pray, who is actually 'out of tune'?
I have it because of Peters....
Klemperer?
why the complaints????

Mozart: Die Zauberflöte [The Magic Flute]

Manufacturer: Deutsche Grammophon
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

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Mozart: Le Nozze Di Figaro
Mozart: Don Giovanni
Mozart: Piano Sonatas
Mozart: Requiem
Mozart: Così fan tutte

ASIN: B000001GXI
Release Date: 1997-08-12

Tracks:

Die Zauberflote - The Magic Flute: Overture
Die Zauberflote - The Magic Flute: Nr.1 Introduction: 'Zu Hilfe! Zu Hilfe!' - (Tamino, Die drei Damen)
Die Zauberflote - The Magic Flute: 'Wo bin ich?' (Tamino)
Die Zauberflote - The Magic Flute: Nr.2 Arie: 'Der Vogelfer bin ich ja' (Papageno)
Die Zauberflote - The Magic Flute: 'He da! ... Was da?' (Tamino, Papageno, Die drei Damen)
Die Zauberflote - The Magic Flute: Nr. 3: 'Dies bildnis ist bezaubernd sch(Tamino)
Die Zauberflote - The Magic Flute: 'Rich mit Mut und Standhaftigkeit' (Die drei Damen, Tamino)
Die Zauberflote - The Magic Flute: Nr. 4 Rezitativ und Arie: 'O zittre nicht, mein liebe Sohn!' (Konigin der Nacht)
Die Zauberflote - The Magic Flute: 'Ist es denn Wirklichkeit, was ich sah?' (Tamino)
Die Zauberflote - The Magic Flute: Nr. 5 Quintett: 'Hm, Hm, Hm' (Papageno, Tamino, Die drei Damen)
Die Zauberflote - The Magic Flute: Nr. 6 Terzett: 'Du feines Tbchen, nur herein!' (Monostatos, Pamina, Papageno)
Die Zauberflote - The Magic Flute: 'Bin ich nicht ein Narr' (Papageno, Pamina)
Die Zauberflote - The Magic Flute: Nr. 7 Duett: 'Bei Mern, welche Liebe f (Pamina, Papageno)
Die Zauberflote - The Magic Flute: Nr. 8 Finale: 'Zum Ziele fich diese Bahn' (Die drei Damen, Tamino, Priester, Sprecher, Chor)
Die Zauberflote - The Magic Flute: 'Wie stark ist nicht dein Zauberton' (Tamino, Papageno)
Die Zauberflote - The Magic Flute: 'Schnelle Fascher Mut' (Pamina, Papageno, Monostatos, Chor)
Die Zauberflote - The Magic Flute: 'Es lebe Sarastro! Sarastro lebe!' (Chor, Papageno, Pamina, Sarastro, Monostatos, Tamino)

Tracks:

Die Zauberflote - The Magic Flute: Nr. 9 Marsch der Priester
Die Zauberflote - The Magic Flute: 'Ihr eingeweihten Diener der Gotter Osiris und Isis!' (Sarastro, Erster Priester, Zweiter Priester, Dritter Priester)
Die Zauberflote - The Magic Flute: Nr. 10 Arie mit Chor: 'O Isis und Osiris' (Sarastro, Chor)
Die Zauberflote - The Magic Flute: 'Eine Schreckliche Nacht!' (, Papageno, Erster Priester, Zweiter Priester)
Die Zauberflote - The Magic Flute: Nr. 11 Duett: 'Bewahret euch vor Weibertucken' (Zweiter Priester, Dritter Priester)
Die Zauberflote - The Magic Flute: 'He, Lichter her!' (Papageno, Tamino)
Die Zauberflote - The Magic Flute: Nr. 12 Quintett: 'Wie? Wie? Wie? Ihr an Diesem Schreckensort?' (Die drei Damen, Papageno, Tamino, Priester)
Die Zauberflote - The Magic Flute: 'Tamino! Dein standhaft mannliches Betragen hat gesigt' (Erster Priester, Zweiter Priester, Papageno)
Die Zauberflote - The Magic Flute: Nr. 13 Arie ; 'Alles fuhlt der Liebe Freuden' (Monostatos)
Die Zauberflote - The Magic Flute: Mutter! (Pamina, Monostatos, Konigin der Nacht)
Die Zauberflote - The Magic Flute: Nr. 14 'Hier seid ihr euch beide allein uherlassen' (Konigin der Nacht)
Die Zauberflote - The Magic Flute: 'Morden soll ich?' (Pamina, Monostatos, Sarastro)
Die Zauberflote - The Magic Flute: Nr. 15 Arie: 'In diesen heil'gen Hallen' (Sarastro)
Die Zauberflote - The Magic Flute: 'Hier seid ihr euch beide allein uberlassen' (Erster Priester, Papageno, Tamino, Weib)
Die Zauberflote - The Magic Flute: Nr. 16 Terzett: 'Seid uns zum Zweitenmal Willkommen' (Die Drei Knaben)
Die Zauberflote - The Magic Flute: 'Tamino, wollen wir nicht speisen?' (Papageno, Tamino, Pamina)
Die Zauberflote - The Magic Flute: Nr. 17Arei: 'Ach, ich fuhl's, es ist verschwunden' (Pamina)
Die Zauberflote - The Magic Flute: Nr. 18 Chor der Priester: 'O Isis und Osiris' (Chor)
Die Zauberflote - The Magic Flute: 'Tamino, dein Betragen war bisher mannlich' (Sarastro, Pamina, Tamino)
Die Zauberflote - The Magic Flute: Nr. 19 Terzett: 'Soll ich dich, Teurer, nicht mehr sehn?' (Pamina, Sarastro, Tamino)
Die Zauberflote - The Magic Flute: 'Tamino! Tamino!' (Papageno, Stimen, Erster Priester)
Die Zauberflote - The Magic Flute: Nr. 20 Arie: 'Ein Madchen oder Weibchen wunscht Papageno sich' (Papageno)
Die Zauberflote - The Magic Flute: 'Da bin ich schon, mein Engel' (Weib, Papageno, Erster Priester)
Die Zauberflote - The Magic Flute: Nr. 21Finale: 'Bald prangt, den Morgen zu verkunden' (Die drei Knaben, Pamina)
Die Zauberflote - The Magic Flute: 'Der welcher wandert diese Strasse voll Beschwerden' (Die Geharnischten, Tamino, Pamina)
Die Zauberflote - The Magic Flute: 'Tamino mein! O welch ein Gluck!' (Pamina, Tamino, Die Geharnischten, Chor)
Die Zauberflote - The Magic Flute: 'Papagena, Papagena, Papagena! Weibchen, Taubchen' (Papageno, Die drei Knaben, Papagena)
Die Zauberflote - The Magic Flute: 'Nur stille, stille, stille, stille!' (Monostatos, Konigin der Nacht, Die drei Damen)
Die Zauberflote - The Magic Flute: 'Die Strahlen der Sonne Vertreiben die Nacht' (Sarastro, Chor)

Customer Reviews:

As an ensemble, no other one..........2007-03-19

This is a very difficult masterpiece: half of it a fable, half of it a philosophical speech. But the ensemble leaded by Karl Böhm for DG surpass all other sets I have heard; Dietrich Fischer-Dieskau is above standard with his Papageno (Lisa Otto completes him in a hundred percent) and Fritz Wunderlich is the perfect Tamino.
The question of the Queen of the Night is still to be defined but Roberta Peters (side by side with Edda Moser) have shaped my idea of the Queen for years.
This set is among the finest recording ever made, and a must in my collection.

Roberta Peters' Queen - Pray, who is actually 'out of tune'? .......2007-02-08

There are controversies over Roberta Peters' Queen of Night in this recording.
True that there are many coloratura sopranos prancing around this role with sweet and lyrical interpretations. Either they do not care for the drama, or that they are vocally incapable of coming up with a 'big aria' that is fiery and energetic.
Peters do not own a very big voice, but she did her best to give the role's due. If she had a slightly bigger voice, you would tell all the difference. She did not play it safe as with other coloratura sopranos, may be that was what Karl Boehm expected her to do - to give the character her due, instead of covering up the singer's vocal inadequacies (if there be any) by a 'pleasing' performance. With a Tamino sung in such a 'big' way as Fritz Wunderlich here, we have reasons to believe that Boehm wanted all his cast to stick to Mozart's requirements in their portrayals of their respective roles.
Fischer-Dieskau of course gave a high-scoring performance in this respect. So did Franz Crass and James King and Talvela.
Another very outstanding performance in this recording is Lisa Otto's Papagena. You have to hear it to believe it. Her duet with Fischer-Dieskau is simply stunning.

I have it because of Peters...........2007-01-29

I'm going to limit my comments to Roberta Peters. Hers is the sort of voice I want to hear as The Queen. I have no idea what Mozart wanted but I can't believe he wanted a fairy-piper sort of sound. I'm not denigrating Koeth nor Battle, nor... nor.... nor.

For me, I want Peters, a more determined Queen, not a light sound. Alan Blyth finds her sound not to his liking. Okay, I do. I want a Queen with GUTS.

Klemperer?.......2006-04-20

Several reviewers claim greatness for the Klemperer version of this opera, particularly for Popp's Queen of the Night. I was selling records when that version was released on LP, and except for sales to some Klemperer diehards, we couldn't give the set away. Personally, I didn't think it was a disaster (though I admit to chuckling at the comments about the performance needing 12 LPs). I did agree with the criticism of Popp, however, finding her singing technically good for the most part, but dull. She didn't/doesn't sound angry/frustrated/poisonous etc., just bland (and I usually like Popp a lot). I'm more than happy with the Bohm version, even given it's age.

why the complaints????.......2006-03-17

don't be swayed by other, bitter reviews of this recording -- there is some serious hating going down in them. this is a beautiful production featuring one of the best conductors and some of the finest operatic voices of the 20th century. roberta peters' characterization of the queen of the night is entrancing, noble, dramatic, and -- even more importantly -- one of the few that actually dimensionalizes the queen's rage, hurt, frustrations, and sorrow!!!! there's definitely a reason (more than just the reliability of her high Fs -- as callas said, the Fs alone are not enough) why peters gave more than a bazillion performances of this role at the metropolitan... just like there's a reason that the met is currently saluting evelyn lear (pamina).... so maybe all the haters just need to get off their butts and go sing 'flute' themselves, if they really think there is so much lacking in this version.

Strauss - Daphne / Güden · Wunderlich · King · Little · Schöffler · Böhm

Average customer rating:

I have this on LP somewhere - it was treasure but Decca & Fleming my current first choice!
A Collector's Item
This is the one to own....
Wonderful document, but...
Daphne is a great opera

Strauss - Daphne / Güden · Wunderlich · King · Little · Schöffler · Böhm
Richard Strauss , Karl Böhm , and Fritz Wunderlich, James King, Vera Little, Paul Schöffler Hilde Güden
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

R. Strauss: Die Frau ohne Schatten
Giacomo Puccini: La Bohème (Cambridge Opera Handbooks)
Strauss - Intermezzo / Popp, Fischer-Dieskau, Dallapozza, Fuchs, Finke, Moll, Raimund Grumbach, Hirte, Wilsing, Bayerischen Rundfunks, Sawallisch
Die Schweigsame Frau
W. A. Mozart: Così fan tutte (Cambridge Opera Handbooks)

ASIN: B000001GMO
Release Date: 1994-09-20

Tracks:

Orchestereinleitung: Kleontes!-Adrast! - Hans Braun/Kurt Equiluz/Harald Proglhof/Ludwig Welter
O bleib, geliebter Tag! - Hilde Guden
Leukippos, du? - Hilde Guden/Fritz Wunderlich
'Daphne!/Mutter!/Wir warten dein - Vera Little/Hilde Guden
Ei, so fliegt sie dahin - Rita Streich/Erika Mechera/Fritz Wunderlich
Seid ihr um mich, ihr Hirten alle? - Paul Schoffler/Hans Braun/Kurt Equiluz/Harald Proglhof/Ludwig Welter/Vera Little
Ich gru dich, weiser, erfahrener Fischer - James King/Paul Schoffler/Vera Little/Hans Braun/Kurt Equiluz/Harald Proglhof/Ludwig Welter
Was fuhrt dich her im niedern Gewande - James King/Hilde Guden

Tracks:

Dieser Kudies Umarmen - Hilde Guden/James King/Vienna State Op Chor/Scherlich/Paul Schoffler
Trinke, du Tochter! - Vera Little/Rita Streich/Erika Mechera/Hilde Guden/Hans Braun/Kurt Equiluz/Harald Proglhof...
Furchbare Schmach dem Gotte! - James King/Hans Braun/Kurt Equiluz/Harald Proglhof/Ludwig Welter/Rita Streich/Erika Mechera...
Zu dir nun, Knabe! - James King/Fritz Wunderlich/Hilde Guden
Jeden heiligen Morgen - James King/Fritz Wunderlich/Hilde Guden
Unheilvolle Daphne! - Hilde Guden
Was erblicke ich? - James King
Daphnes Verwandlung: Ich komme-ich komme-grunende Bruder - Hilde Guden
Mondlichtmusik - Hilde Guden

Album Description

The complete opera on two CDs. Deutsche Grammophon. 1994.

Customer Reviews:

I have this on LP somewhere - it was treasure but Decca & Fleming my current first choice!.......2007-07-10

I have this on LP somewhere - it was treasure but Decca & Fleming are my current first choice! Why 3 stars - well as one reviewer says its live and it was winter and everyone had coughs! Also whilst Gueden evolves into a tree beautifully and is captivating in the process the rest is a bit of a shouting match so 3 stars. The Fleming Decca version does nearly everything well except Fleming sounds a little hard of tone from time to time but does evolve beautifully into a tree also, and some of her female supports are not much to my liking but its had to tell if its the singer or the score (like the Mother in Arabella!).

Daphne is a problem work to perform which is why the views here are mixed - in parts you think you are in the middle of Schoenberg (Gurrelieder)then back again in lyrical Strauss - Boehm tended to suppress this a little but that's what the shouting match is about, its in the score!

You might want to wait until you have explored other Strauss stuff - I have just found Intermezzo (EMI) and there Popp is wonderful and it suits me more than Daphne as a whole work. Then there is another conundrum in the new Helene, (versus the Price, Hendricks etc).

So 3 stars (or 6.5/10) seems about right oh and its an older style recording as well! I would go for the Decca Fleming first then this second unless you come across it at super special price!

A Collector's Item.......2007-04-26

I did not pick this CD deliberately - it came accidently when browsing for Wunderlich's recordings.
Thankful indeed that I got it. This live recording will be an invaluable item in any collection of classical music.
The sound in stereo is good enough - even if recorded in 1964.
The dedicatee Karl Boehm conducted well and headed a dream cast : Gueden in title role, flanked by Fritz Wunderlich and James King.
The final trio between the three protagonists are really electrifying.
I haven't heard this opera before, but would say that it is every bit as good as Rosenkavalier or the other Strauss's works, if not as lengthy as others.
Apart from Hilde Gueden's singing, an interesting 'singing battle' was waged between Wunderlich and King in this performance. It is fun picking out who is who in the ensembles: King's heldentenor voice having more baritonal depth and Wunderlich having a brighter metallic ring. Their respective portrayals as god and man constrasted successfully.
I've seen that in the modern album, some critics commented on Fleming's voice as being too 'dark'. Well, I haven't heard that recording yet, but from my recent impression of Fleming in recital, I don't think this role would cause her any great problem - she sounds as gorgeous as ever even in 2007, in great lyrical and silvery tone from top to bottom.
Hilde Gueden had a very girlish (soubrette like) soprano. This suited Daphne's role. But a soprano with a silvery lyricism like Fleming should equally excel.
Surely I will get hold of the modern version some other day.

This is the one to own...........2006-07-27

I'm not a Fleming fan and I would rather she had been replaced with Voigt in that "other" recording. Moreover, when one can find an opera recording - almost any opera recording - with native speakers, unless the orchestra and/or the conductor is simply dreadful, go for the hometown crowd.

Wonderful document, but..........2005-07-29

Daphne is most certainly a good opera by an outstanding composer of operas. The only question is whether one wishes to buy the CD or just hear it in performance. As this latter is very unlikely, and certainly never with such a cast, you will have to "pays you're money and takes you're chances." If you are interested in the classical art of Greece perhaps that should push you into a purchase. As a fan - a huge fan - of Hilde G. I bought the opera for her. Frankly I found her tested pretty severely in her long epic solo opening. If tenors rightly dread walking out on stage and with little warm-up tackling Verdi's Celeste Aida, I can only imagine how sopranos envision this test!
If you are not sold on this opera as a purchase and don't yet own the composer's Four Last Songs you might consider those before Daphne.

Daphne is a great opera.......2004-09-23

Much has been said about the tremendous quality of this performance... I won't reiterate it except to say that if there were a thousand recordings of this opera, this would easily still be the best. As it stands, there aren't a thousand, there aren't very many at all, and that's a shame. Strauss has the reputation of being a retroacitve composer; some say he wrote two great modern operas and then lost it, others say four or five, with a sudden burst of greatness at the end with Cappriccio and the four last songs.
It's becoming more apparent that Strauss had much more to offer us than just Rosenkavalier. While many people criticize the librettos after Hofmannsthal's death, one really should keep in mind what we are comparing here. Considering that the later librettos are being compared to one of the greatest of German poets and the master Oscar Wilde (whose Salome was altered very little and to great effect), one could perhaps have a more forgiving attitude. Certainly the Libretto to Daphne is not bad; no worse than most operas, although lacking a little in excitement and explosive scenes.
The music, however, is absolutely incredible. There are moments that are every bit as intense as Elektra or Salome, and other moments that are even more restrained than Capriccio. It is also a return to tragedy for Strauss, after the succession of comic or at the most tragic-comdedic (after all, Die Frau Ohne Schatten does have a happy ending). If one does not feel comfortable comparing it to the so called great Strauss operas, it has to be at least admitted as a great opera (more so for the music than the libretto). In a way it's similar to the great operas like Cosi fan Tutte, Parsifal, Falstaff and most of Puccini's work after Butterfly, in that it is great, and unfairly overshadowed by works that are more popular and sometimes not as brilliant.
It's also important to remember that Strauss never retreated from dissonance and modernism, anymore than Puccini did either. Because the subject of Rosenkavalier is Mozart era Austria, and because the dissonance is applied in a subtler way, people make the mistake of thinking it is retroactive. If you don't believe this, listen again to the theme associated with the Silver Rose... it's quite dreamy, but it is also removed from the key of the music supporting it. And so on for all of his operas, including Daphne. I should also recommend all the Bohm/Strauss recordings in this series; this man could do Strauss' music, and if you have any doubts about the quality of his music, these are the recordings to get.

Average customer rating:

Two fabulous symphonies in a justly famous recording
What can I say...

Mozart: Symphonies Nos. 40 and 41

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music

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

4-for-3 All Music | 4-for-3 Music | Stores | Music

$6.99 and Under | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Opera & Vocal | Classical Music Blowout | Stores | Music
Similar Items:

Beethoven: Symphonien Nos. 5 & 7 / Kleiber, Vienna Philharmonic Orchestra
Mozart: Eine kleine Nachtmusik No13; Serenade No9
Bach: Brandenburg Concertos No. 1-4; Neville Marriner; Academy of St. Martin in the Fields
Tchaikovsky: Symphony No. 5 / 1812 Overture
Strauss: Also Sprach Zarathustra, Don Juan / Karajan

ASIN: B00004Z1AH
Release Date: 2001-04-10

Tracks:

Symphony No.40 In G Minor, K550: Molto allegro
Symphony No.40 In G Minor, K550: Andante
Symphony No.40 In G Minor, K550: Menuetto: Allegretto
Symphony No.40 In G Minor, K550: Allegro assai
Symphony No.41 In C Major, K551 'Jupiter': Allegro vivace
Symphony No.41 In C Major, K551 'Jupiter': Andante cantabile
Symphony No.41 In C Major, K551 'Jupiter': Menuetto: Alegretto
Symphony No.41 In C Major, K551 'Jupiter': Molto allegro
Die Zauberflote: Overture

Customer Reviews:

Two fabulous symphonies in a justly famous recording.......2005-08-23

Karl Böhm was a famous Austrian conductor who had a special devotion to Mozart, Beethoven, and Richard Strauss. He was justly famous for his interpretations of these composers in his performances and recordings. His recordings of the Mozart symphonies in the 1970s continue to stand the test of time even if they do not display the current fashion in playing Mozart.

Symphonies 40 & 41 are the last two symphonies of Mozart and are glorious treasures of the symphonic form and of all musical arts. These, along with Symphony 39, were composed in a few months in 1788. The two here are the most performed, but all three deserve the highest praise and reward close listening.

The opening of the g minor symphony (40) haunts us and is used so effectively against the other materials of the movement. The slow second movement has an elegance that sounds so simple, but the sixteenth-dotted eighth rhythm used throughout is not only hard to play on the beat for so long, it shifts things for the listener as well because we expect the short note to be a pick up and the long note on the beat. The menuet is unusually poignant in its minor key. The last movement soars. Materials from the other movements are reused in original ways that delight and amaze us.

Symphony 41 became the "Jupiter" in the hands of the English impresario Salomon (who had done so well bringing Haydn to London). It is an utterly amazing work. The first movement has very unusual and otherworldly sonorities that you have to study the score to see how they are pulled off. However, the greatest miracle is the way imitation and fugue is used in the last movement, especially the coda where themes are brought back in a five part fugue that is worthy of Bach, but is utterly free and never sounds strict or fussy: a masterstroke for all time.

To round things out the overture to "The Magic Flute" is included and will delight you as it has nearly everyone who has ever heard it (there are a few stick-in-the mud types).

This is an amazingly priced disk and will reward as many listenings as you care to give it.

What can I say..........2002-05-20

For over twenty years I have tried to love Mozart. Without fail, every hearing of his work made my skin crawl. I would hear interviews with great musicians and singers and listen to them rave about his genius. Knowing that he must be great there I would buy another recording with my favorite singer or conductor's interpretation...nope, and it wasn't that I felt nothing, it would hurt my ears. What I thought strange is that I love Bach and Beethoven and Opera, why didn't Mozart do it for me?

Two months ago I was driving through New York State and I was listening to WQXR, and they began to play one of Mozart's Symphonies, WHAM...every cord, note, phrase was singing to me--it sounded so RIGHT. That feeling did not leave until the final note--I had to hear who was the conductor. Apparently, none of you Mozart lovers will be shocked but the conductor was Karl Bohm.

Tracks:

Rienzi: Overture
Overture
Overture
Lohengrin: Prelude to Act I
Lohengrin: Prelude to Act III
Die Meistersinger von Nurnberg: Prelude to Act I
Die Meistersinger von Nurnberg: Prelude to Act III
Die Walkure: The Ride of the Valkyries

Tracks:

TRISTAN & ISOLDE - Prelude to Act I
TRISTAN & ISOLDE - Introduction to Act III (Massig Langsam)
TRISTAN & ISOLDE - Liebestodt
SIEGFRIED - Siegfried-Idyll
GOTTERDAMMERUNG - Orchestral Interlude: Siegfried's Rhine Journey
PARSIFAL
PARSIFAL - Good Friday Music

Amazon.com

This is a dazzling collection of nonvocal excerpts from Wagner's operas, from the peace and loveliness of Rafael Kubelik's Siegfried Idyll to the passionate, disturbed Prelude to the first act of Tristan, led by Karl Bohm, and the wild Ride of the Valkyries, with Herbert von Karajan in a particularly rambunctious mood. Other highlights in the two and a half hours of music are transcendent readings of two Parsifal excerpts by Eugen Jochum and the Bavarian Radio Orchestra and a Flying Dutchman set. But couldn't DG have tried to include some information about anything in their teeny paper insert? --Robert Levine

Customer Reviews:

Excellent.......2007-02-13

I grew up listening to all kinds of music. I must say that listiening to this CD is a wonderful change to today's music. It is relaxing and soothing.

The Only Truly Memorable Tracks On This 2 Disc Album Are Jochum's Parsifal Pieces.......2006-11-06

Many reviewers are stating that this is some sort of great introduction to Wagner, when I think they are not aware of many other terrific orchestral Wagner CDs. EMI has recently released an outstanding CD by Karajan of various Wagner preludes and overtures from the non "Ring" operas. That CD is part of EMI's "Great Recordings of the Century" catalogue and it's also available in the "Karajan Collection". Two different pressings, exact same thing.

To get some juicy "Ring" selections, you should investigate George Szell's oustanding CD on Sony Essential Classics which is uniquely captivating as far as orchestral excerpts from the Ring operas go.

Getting back to this DG Double, here is my rundown of all the tracks. The Rienzi Overture is done well by Karl Bohm but it's nothing remarkable. The Flying Duthchman also conducted by Bohm is played with gusto, pretty good. The Tannhauser Overture is an extremely dull run-through by Otto Gerdes, what a nightmare! Listen to Solti instead to get the full power of this terrific piece! The Lohengrin preludes by Kubelik lack the dreamy mysticism and rich power of Karajan's versions on EMI. The preludes to Die Meistersinger are played by Bohm and Jochum, Bohm is too relaxed and slow in the prelude to Act 1 but Jochum finds more life in the prelude to act 3. The ultra-famous "Ride of the Valkyries" is played by Karajan, an excerpt from his complete set of the Ring and yes the soprano soloists are on display here. It's a good account but hardly matches the excitement of Solti's version from his complete Ring recording.

The second CD opens up with powerful excerpts from Tristan and Isolde played by Bohm, the prelude and Act 3 intro are taken from his famous Bayreuth set with Birgit Nilsson. Nilsson however is not represented in the final Liebestod, instead a later, not very passionate Bohm recording is tacked on. The Siegfried Idyll is conducted by Kubelik and is not very memorable, certainly lacking the romantic abandon of the famous Karajan versions. Siegfried's Rhine Journey from Gotterdammerung is led by Karajan and sounds great.

Finally we get to the best part of this 2CD package, Eugen Jochum's performances of the Prelude and Good Friday Music from Wagner's final masterpiece, Parsifal. Both sound highly involved and deeply spiritual, the sound is great for something that was recorded way back in 1957. The brass get a bit edgy but it's not much of a worry, the readings are exceptional.

If you're a Wagner newbie, this 2CD set might satisfy you but I recommend you go and buy that EMI Karajan CD and the Ring excerpts by Szell, listen to those and you'll be well on your way to tackling a full opera. The most accessible opera to start with is Lohengrin.

A Thing of Beauty.......2006-06-17

I am not overly fond of opera but there are exceptions. This album is such an exception. I suppose that is because there is little to be heard in the way of singing on it. I like it for the instrumental passages and they are wonderful.

As the title suggests, these are primarily overtures and preludes. They are not as bombastic as Wagner is wont to be but they are very strong. They are evocative of beauty and majesty. It is good orchestral music.

The performances included are all from Germanic orchestras. This music is a part of the culture and it is well done. If I have one complaint, it is a minor one. The pianissimo passages are sometimes so soft as to not be present. They are...understated in the extreme.

All in all, this is a quality recording capable of producing hours of enjoyment from its two disks.

It's OK.......2006-03-20

I judge this CD for it's sound quality - very good. The Wagner's music it's not really my type of music, therefore I can't say it's a poor CD. If the music is just OK is not the CD's fault. Simply my taste doesn't match Wagner's music.

Falls short of being great........2006-02-01

I'm surprised that all of the other reviewers neglected to mention the shortcomings of this set. Without Siegfried's Funeral March from Die Gotterdammerung and coupled with the fact that the liner notes stink, this is well deserving of 2 stars, but I was generous. Get the EMI set "Orchestral Music" with Szell conducting which has everything that this collection has plus Siegfried's Funeral March, good liner notes and extra selections.

Music Track:

Music Track

music track

Recommended Music:

Start from the Dark [Import]

Beethoven: Symphony No. 9 "Choral" [Box set]

Baroque Concert for Trumpet & Orchestra

Music: The Hits & The Remixes [Import]

An Industrial Tribute to Ministry

CIRCUS OF FOOLS

American Troubadour [Import]

Brahms: Piano Variations

Boot Heel Drag: The MGM Years

A Medio Vivir

Alchemy

An Integral

Aquagen Presents Schubkra, Vol. 2 [Import]

Stanford: Anthems and Services

Voelkerball: Bildband