Strauss: Ariadne auf Naxos

Ariadne auf Naxos, opera, Op. 60-II (TrV 228a) (revised version)
Composed by Richard Strauss
Performed by Dresden Staatskapelle
with Erika Wustmann, Eberhard Buchner, Sylvia Geszty, Gundula Janowitz, Peter Schreier, Annelies Burmeister, Theo Adam, Teresa Zylis-Gara, James King, Siegfried Vogel, Erich-Alexander Winds, Hans-Joachim Rotzsch, Gunter Dressler, Adele Stolte, Hermann Prey, Wilfried Schaal
Conducted by Rudolf Kempe

Strauss: Ariadne auf Naxos,Richard Strauss,Rudolf Kempe,Dresden Staatskapelle,Sylvia Geszty,Adele Stolte,Annelies Burmeister,Eberhard Buchner,Erich-Alexander Winds,Erika Wustmann,Gundula Janowitz,Gunter Dressler,Hans-Joachim Rotzsch,Hermann Prey,James King,Peter Schreier,Siegfried Vogel,Teresa Zylis-Gara,Theo Adam,Wilfried Schaal,Capitol,Classical,Classical Composers,Classical Music,German/Austrian Romantic Opera,Opera,Opera / Operetta / Oratorio

Average customer rating:

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

The Very Best of Elisabeth Schwarzkopf

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Great Recordings Of The Century - Elisabeth Schwarzkopf Sings Operetta / Ackermann
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Schubert: 24 Lieder
Mozart: Opera Arias
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ASIN: B0000AF1SC
Release Date: 2003-09-02

Tracks:

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

Tracks:

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

Amazon.com

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

Customer Reviews:

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

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

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

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

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

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

¡PERFECT!.......2005-02-10

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

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

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

Average customer rating:

The Incomparable LEONTYNE PRICE: "The Stradivarius of Singers"!!
Leontyne Price: The Ultimate Collection
The true prima donna asoluta
Fabulous singing, Overblown orchestras
Fabulous!

Leontyne Price: The Ultimate Collection

Manufacturer: RCA
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ASIN: B00000J912
Release Date: 1999-05-25

Tracks:

Aida: Ritorna vincitor
Turandot: Signore, ascolta
Le nozze di Figaro: Porgi amor
Madama Butterfly: Un Bel Di
Manon: Adieu, notre petite table
Manon Lescaut: In quelle trine morbide
Dido & Aeneas: Thy hand...when I am laid
Il Trovatore: Che piu... Tacea la notte ...Di tale amor
Les Nuits D'ete: Sur les lagunes
Porgy & Bess: Summertime
La rondine: Chi il bel sogno
Carmen: Habanera
La forza del destino: Son giunta...Madre.
Vier letzte Lieder: Im Abendrot
Ariadne auf Naxos: Es gibt ein Reich

Tracks:

Aida: O Patria Mia
TOSCA: Vissi d'arte
Turandot: Tu che di gel cinta
Le nozze di Figaro: Susanna
Il Trovatore: Siam giunti
Un Ballo in Maschera: Morro ma prima in grazia
Carmen: Sequidille
Il re pastore: L'amero
Don Carlo: Tu che la vanita
Suor Angelica: Senza Mama
Anthony and Cleopatra: Give me my robe
Madame Butterfly: Tu? tu?
La forza del destino: Pace, pace mio Dio

Customer Reviews:

The Incomparable LEONTYNE PRICE: "The Stradivarius of Singers"!!.......2006-08-14

This collection is a wonderful, affordable, and welcome overview of one of Opera's greatest and beloved aritsts:the phenomenal American Superstar soprano LEONTYNE PRICE.

For those Opera-lovers who first encountered Ms. Price's magical vocalism from the recording studio, this collection includes the the entire legendary "Blue Album" which many operaphile consider to be one of the finest recordings ever. The selections gathered here vividly demonstrate the reason why Leontyne Price is regarded as the supreme VERDI soprano of her generation (30 years to date) a renowned PUCCINI specialist, and one of the greatest artists of all time. Recorded in the early 60's, Ms. Price's instrument was, in her own words "a juicy lyric". The intrinsic lyricism of her voice was aligned to warm, lustrous tone that pulsated in the middle voice, yielded a dark, uniquely sensuous sound in the lower regions, and gleamed with a distinctive, fast, liquid vibrato in the upper voice. That unique vibrato was elemental to this diva's ability to infuse Verdi and Puccini's most dramatic phrases with surging power (without pushing), and still produce lovely pianos in alt - soaring there with an ease that was singular to her, and that continued to her retirement in the 2002. Elsewhere the listener is treated to the rewards of Ms. Price's natural vocal evolution, wherein her voice developed into a full spinto with the middle throbbing, creamy, and lush, the low voice alternately chesty or breathy, slightly weaker -but retaining its smoky quality. It is in her upper voice, already superb, however, that Ms. Price revealed the rewards of maturation. The upper voice became rounder, less vibrant perhaps but refulgent with greater strength at the top, meeting the out-sized demands of STRAUSS and WAGNER (missing in this compilation) amongst others, while spinning out soft, exquisite pianos, and luxuriating in the long phrases of any number of composers, not the least of which were MOZART, VERDI and PUCCINI.

Leontyne Price recorded arias and scenas from every standard repertory VERDI opera with few exceptions (Nabucco/Luisa Miller/Vespri/Falstaff) in superlative fashion. Her onstage roles included the "Il Trovatore" Leonora, the role of her sensational MET debut (that resulted in a record 42 minute ovation), thrice recorded by her, and a signature role throughout her career. The selections on this recording were culled from her first complete recording of the opera. Here Ms. Price soars effortlessly to the heights repeatedly in "Tacea la notte", and sings the cabaletta fluently. "D'amor sull ali rosee" (once the sole property of Ms. Price's Verdian predecessor Zinka Milanov) is enhanced by the soprano's expert trills, musical nuances, and the glorious vibrato that carries her gossamer tones to the floated high C in alt. She was also the leading interpreter of Verdi's other Leonora -di Vargas- in "La Forza del Destino" which the diva recorded twice. There is also a Live MET performance available on DVD, recorded when the diva was nearing her retirement from Opera. (The two selections here also hail from her first complete recording of this work) "Son giunta!...Madre pietosa Vergine" is one of Verdi's most demanding scenas for soprano, but THIS soprano was a mistress of Verdian sweep, and supplies a wealth of dynamic shadings that illustrate the desperation of the hapless Leonora. Ms. Price produces silvery, vibrant, pulsing tone with amplitude that rises to the forte climaxes, riding them without overpowering the orchestra. This role was one of her most riveting potrayals from a dramatic viewpoint. The second "Forza" aria is the great lament "Pace, pace mio Dio" and is synonymous with Leontyne Price to this day. The diva sang this aria onstage more often than any other Verdi aria throughout her long career. Here she infuses the music with sorrow and despair, her voice in service to the text, and caps the aria with her stirring cries of "Maledizione!!" on a sustained forte high Bflat. Ms. Price's successful outings as Amelia are represented by the Act II aria "Morro, ma prima in grazia" from her stellar complete recording of "Un Ballo in Maschera". She sings the aria in a hushed, somber manner, climaxing on a brilliant high C, and with a lovely diminuendo at its end. One of the several operatic roles Ms. Price sadly did not assume onstage was Queen Elisabetta from "Don Carlo". We must be grateful for her warm, glowing, majesterial account of "Tu che le vanita", replete with burnished, opulent tone throughout. The leading newspaper of Italy said of Ms. Price that "..our great Verdi would have her the ideal Aida" and that sentiment has been adopted the world over. The "Aida" selections here are the first ones recorded by the American diva, and remains a revelation. In "Ritorna vincitor" the soprano's lyric instrument is indeed "juicy", declaiming her fierce opposition to the Egyptian invaders of her Ethiopian homeland with energetic and powerful vocalism. She then masterfully delineates the young princess' dilemma with fervent and youthful passion, ending with a prayerful "Numi pieta" suffused by warm, sable-colored tone. "O Patria mia" is another of Ms. Price's most revered performances, indeed the aria that garnered her a (5) five minute ovation on live television at her "farewell to Opera" performance in the same opera. The soprano injects Aida's farewell to her homeland with rich, smoky, plangent tones that rise effortlessly to a shining high C that bedeviled some of her most illustrous rivals, and would be bettered in the future only by the wonderful Spanish soprano Montserrat Caballe - and Ms. Price herself!!

Leontyne Price performed the veristic music of PUCCINI onstage in a number of his operas that included "Manon Lescaut"/"Tosca"/Madama Butterfly"/"La Faniculla del West"/"Il Tabarro"/ and "Turandot", albeit with less frequency than with Verdi. She brought a luminous, womanly quality to all of the composer's music. Here, she sings with particular intensity and emotion as the geisha girl Cio-Cio San (her favorite Puccini role)and offers limpid, melting tone as the fiery Roman prima donna Floria Tosca -the complete opera twice-recorded and highly-acclaimed. Puccini's music for the doomed Chinese slave-girl Liu are exquisitely sung, while "In quelle trine morbide" and "Senza mamma" benefit from the voluptuous, sensuous vocalism of the more mature Price. The most outstanding qualities of this diva in Puccini's music was a femininity and humanity, inherent in all of her singing, but most pronounced with this composer. She also fearlessly sang his highest phrases with a vocal splendor and freedom unrivalled by anyone, nowhere more than as the tragic Butterfly. However, until she retired from public singing, one aria remained a trademark for this diva: Chi bel sogno di Doretta" from Puccini's rarely performed operetta "La Rondine". The performance here was her first recording of it, and is a classic in its own right. Ms. Price's voice shimmers throughout, singing the high C with astonishing purity, and caressing, velvety tone elsewhere.

MOZART's operas also brought deserved glory to Ms. Price. Her plush-toned voice was considered to be almost too rich for some early in her career. This was amply belied by the rapturous reception her onstage performances brought her, most notably as Donna Anna, the leading lady of "Don Giovanni", ironically not included in this collection. Another aria Ms. Price enjoyed singing in concert, "Come scoglio" ("Cosi Fan Tutte") is missing here as well, though she performed the role of Fiordiligi at the MET. The soprano never performed in "Le Nozze di Figaro", but sang the scena "Dove sono" often in her live concerts, understandably, because of the smooth, elegant vocalism she lavished on this music. It is truly a pity that she didn't either record or perform the entire role. "Porgi amor" (also from Le Nozze) and "L'amero" (Il Re Pastore) were extracted from a Mozart aria recording, and are well-sung, if not as memorably as other Mozarteans.

It is good that RCA included several French selections, for Ms. Price's talents were marvellously well-suited to the Gallic idiom. Leontyne Price sang the leading role of Madame Lidoine in the American premiere of POULENC's "Dialogues des Carmelites", a few performances of MASSENET's "Thais" onstage (both sadly missing from this compilation) in addition to her celebrated recordings of BIZET's "Carmen" and BERLIOZ's song cycle "Nuits D'ete". She lent a deliciously silken tone to the more nuanced passions of the French repertoire. The "Carmen" excerpts are exceptionally vivid in Price's hands, successfully capturing the earthy, sultry qualities of one of Opera's more mercurial creatures. Ms. Price's lower register is richly displayed in the Berlioz song, while Manon's wistful, poignant "farewell" is sung with delicacy and shimmery tone.

The German wing is represented by music that Ms. Price sang onstage, and recorded as well. While the diva recorded Richard STRAUSS' entire "Four Last Songs" song cycle as well as the title heroine in a complete opera recording of "Ariadne auf Naxos" , the listener gets a good sampling of the potency, range, and the "dunkel" qualities she brought to this music. Fortunately, there is a CD of Richard Strauss arias sung by Ms. Price mid-career that is impressive in its breadth, and vocally sumptuous.

Versatility was a Price by-word. In the recording studio she stylishly performed the music of composers that ranged from the early music of PURCELL's "Dido & Aneas" to the 20th Century musings of Samuel BARBER, who wrote the opera "ANTONY & CLEOPATRA" for Ms. Price to open the New MET in 1966 - another historic milestone. Both selections included here are superbly rendered by the artist. The "Dido" aria is sung with a fuller, richer tone than is usually associated with this period (though it should be noted that two great Wagnerian sopranos Kirsten Flagstad and more recently Jessye Norman have been much admired in this music), but with no loss of style, her vibrato evoking pathos and beauty in this plaintive music. The "Antony" scena is sung with all of the majesty, seductive guile, and courage of Cleopatra, one of history's most storied women - and Ms. Price shines in this music written expressly for her voice. RCA also includes the diva's inimitable performance of "Summertime" the opening aria of GERSHWIN's American opera "Porgy and Bess".

This compilation is a superb introduction to the glories of this magnificent artist for a neophyte...and a treasure trove of musical excellence for the connoisseur of great voices, and they come no greater than America's diva assoluta soprano LEONTYNE PRICE.

Leontyne Price: The Ultimate Collection.......2005-07-20

This was the first time I ordered anything from you. I was very happy with my selection. Delivery was fast and accurate, I immediately played my CD and have enjoyed it since.

Rolande M. Collins

The true prima donna asoluta.......2002-05-23

Ms. Leontyne Price is the quentisential diva. I fell in love with her when I started studying music at the conservatory level. Her phrasing, tone, quality, and endless range are breathtaking. This CD features selections from when she was vocaly at her best. Even though I could go without the Ariadne and Cleopatra, the rest of the CD is simply marvelous. I cannot stop listening to D'amor sull'ali rosee, which I think is the best interpretation and performance of the piece that I have ever heard!!! I prefer Price over Sutherland, Caballe, Freni, and Fleming any day. Her high tones give you the feeling of floating on clouds. This is one of the best CD's in my entire classical/Opera collection. Whoever purchases this CD, it will be worth your while.

Fabulous singing, Overblown orchestras.......2002-04-10

When I was first getting interested in opera, during the late 1960s - early 1970s, Leontyne Price was still singing at the Met, but I could never get a ticket because she only sang five performances a year (later, three). She said this was to "preserve" the voice but, as I learned from those who actually did hear her in person, her mid-range was deteriorating at that time until it was practically inaudible (though her high notes and lower range still sounded great). Also, to be honest, as a youngster I was put off by the promotion of her albums...all those fancy pictures of her in diamonds and furs just seemed so ostentatious to me, and listening to her on records was not always a pleasurable experience. Her voice so often sounded swamped by those loud, blaring, overblown orchestras.

But then I heard a remastering of the famous 1961 "Aida" with Vickers, Gorr and Merrill, and I realized how great a singer she was. That's when I started listening more seriously, and discovered a soprano who had a thorough command of her voice from the late '50s to the late '60s, not only in terms of vocal color but also in terms of phrasing. Listening to Price in her prime is incredible...she almost sounds as if she never breathed, her phrasing is so beautifully bound and poised. At the same time, however, I was disappointed by RCA's choice of partners for her on recordings. ...

This set goes a long way towards restoring the legend. Stripped of her sub-par partners (with the exception of Corelli's belting in the "Seguidilla" from "Carmen"), one can listen to Price's voice uncompromised, and it is a thrill. Even when the orchestra sounds detached and uninteresting, as it often does, Price seems to be on an entirely different wavelength, giving out with passion and great musicality. As for the selections chosen, they represent an excellent cross-section of Price's best work, even though the Purcell and Berlioz sound awfully heavy by today's standards and I can live without the "Anthony and Cleopatra" selection or the Strauss song.

One caveat I have is the lack of discographical information. No dates, orchestras or conductors are given. This is a grave injustice, even though the backup does not always meet expectations. On the plus side, all of the legendary "blue album" (her first recital discs for RCA in 1961) is presented complete, including the two selections from the July 1959 "Il Trovatore" that were on that LP...and in MUCH better, more focused sound. For this, and the heavy orchestral sound, I give the set only 4 stars...but for the singing alone I would give it eight!!

Fabulous!.......2002-01-19

The only alternative to Joan Sutherland. An equally gorgeous and fabulous voice. A true diva that puts me to tears. Sensational recital of so many gems.

R. Strauss - Ariadne auf Naxos / Schwarzkopf · Seefried · Streich · Schock · Prey · PO · Karajan

Average customer rating:

Una gran interpretación discográfica
Stunning Strauss
Perfecta interpretación
Excelente
Organic whole - Excellent cast fine playing and conducting

R. Strauss - Ariadne auf Naxos / Schwarzkopf · Seefried · Streich · Schock · Prey · PO · Karajan
Richard Strauss , Herbert von Karajan , Elisabeth Schwarzkopf , Irmgard Seefried , Rita Streich , Hermann Prey , Rudolf Schock , Philharmonia Orchestra , Lisa Otto , Otakar Kraus , Fritz Ollendorff , Hughes Cuénod , Grace Hoffmann , Anny Felbermayer , Helmut Krebs , Grace Hoffman , Karl Donch , and Gerhard Unger
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Verdi - Falstaff / Gobbi · Schwarzkopf · Moffo · Karajan

ASIN: B00000K4GG
Release Date: 1999-09-21

Tracks:

Ariadne auf Naxos: Prologue: Overture
Ariadne auf Naxos: Prologue: Mein Herr Haushofmeister!
Ariadne auf Naxos: Prologue: Lieber Freund! Verschaffen Sie mir die Geigen (Komponist)
Ariadne auf Naxos: Prologue: O, ich mocht' vieles andern noch in zwolfter Stund' (Komponist)
Ariadne auf Naxos: Prologue: Das! Fur einen Bacchus! (Tenor - Komponist)
Ariadne auf Naxos: Prologue: Erst nach der Oper kommen wir daran (Zerbinetta - Primadonna - Komponist)
Ariadne auf Naxos: Prologue: Nach meiner Oper? (Komponist)
Ariadne auf Naxos: Prologue: Meine Partner! Meine erprobten Frunde! (Zerbinetta - Komponist - Primadonna)
Ariadne auf Naxos: Prologue: Die Herrschaften stehen vom Tisch auf! (Primadonna - Tenor - Zerbinetta - Komponist)
Ariadne auf Naxos: Prologue: Ariadne auf Naxos, Herr (Komponist - Tenor - Primadonna - Zerbinetta)
Ariadne auf Naxos: Prologue: Nein, Herr, so kommt es nicht! (Komponist - Zerbinetta)
Ariadne auf Naxos: Prologue: Kindskopf! Merkt auf, wir spielen mit in dem Stiadne auf Naxos (Zerbinetta - Komponist)
Ariadne auf Naxos: Prologue: An Ihre Platze, meine Damen und Herren! (Primadonna - Komponist)
Ariadne auf Naxos: Opera: Overture
Ariadne auf Naxos: Opera: Schlaft sie?
Ariadne auf Naxos: Opera: Ach! ... Ach! ... Wo war ich? (Ariadne - Zerbinetta)
Ariadne auf Naxos: Opera: Ein Schones war, heib Theseus-Ariadne (Ariadne - Zerbinetta)
Ariadne auf Naxos: Opera: Ach, so versuchet doch ein kleines Lied! (Zerbinetta)

Tracks:

Ariadne auf Naxos: Opera: Es gibt ein Reich, wo alles rein ist (Ariadne)
Ariadne auf Naxos: Opera: Die Dame gibt mit trubem Sinn (Zerbinetta)
Ariadne auf Naxos: Opera: Grobmachtige Prinzessin, wer verstunde nicht (Zerbinetta)
Ariadne auf Naxos: Opera: Hubsch gepredigt! Aber tauben Ohren! (Zerbinetta)
Ariadne auf Naxos: Opera: Ein schones Wunder!
Ariadne auf Naxos: Opera: Circe, Circe, kannst du mich horen? (Ariadne)
Ariadne auf Naxos: Opera: Du schones Wesen! (Bacchus - Ariadne)
Ariadne auf Naxos: Opera: Bin ich ein Gott, schuf mich ein Gott
Ariadne auf Naxos: Opera: Gibt es kein Hinuber? (Ariadne - Bacchus - Zerbinetta)

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This first studio version of Ariadne, from 1954, was long considered the gold standard and has stood the test of time exceptionally well. London's Philharmonia Orchestra produces a gorgeous sound, sensitive and refined in detail. Karajan shapes an often rapturously poetic account, replete with broad and lingering tempi and an expertly calibrated sense of balance--features that likewise mark the 1956 Rosenkavalier that many count as one of the conductor's highest achievements. Irmgard Seefried confirms her status as the composer's unparalleled interpreter. Her detailed characterization confirms the rightness of Strauss's instinct to make his young idealist a travesti role. Rita Streich's uniquely styled polish and sweet purity of tone make her one of Zerbinetta's most memorable exponents, while Elisabeth Schwarzkopf's Ariadne (surprisingly, a role she never sang on stage) abounds in vocal splendor and cuts through the inherent abstractness of the character with dramatic insight. Karajan's carefully measured approach proves a trifle too deliberate for the commedia scenes, but his sense of finesse shapes a dreamlike, misty fabric (almost suggestive of Wagner's Norns) for the trio of nymphs; their chorus "Töne, töne," resounds with silky translucence. Above all, Karajan establishes a credible throughline in the meandering textures of the final scene between Ariadne and Bacchus. Karajan's scope ensures that this recording is the ideal embarkation point for one of Strauss's most enchanting creations. --Thomas May

Customer Reviews:

Una gran interpretación discográfica.......2007-01-25

Esta grabación de Ariadne auf Naxos, es uno de los máximos logros del exitosísimo productor Walter Legge para el sello discográfico EMI en los cincuenta. Este experimentado y muy hábil productor tenía la gran capacidad de reunir cast absolutamente ideales, con lo mejor que ofrecía el panorama lírico de los años cincuenta (época gloriosa por lo demas, plena de grandes artistas). Lograr un trío femenino conformado por Elizabeth Schwarzkopf, Irmgard Seefried y Rita Streich es un mérito que deberá agradecérsele por mucho tiempo. Es difícil conseguir hoy en día un trío de artistas tan espectacular y completo como este. Elizabeth Schwarzkopf puede considerarse la mejor Ariadne discográfica, su estilo depurado pero a la vez expresivo, su conocimiento profundo del idioma alemán y su voz tan especial le hacen interpretar, por ejemplo, una versión ideal del aria "Es gibt ein reicht". Por su lado, Irmgard Seefried es un compositor magnífico. La de la Seefried era otra voz prodigiosa, ligeramente aterciopelada, de gran elegancia, buen gusto y sobre todo muy idiomática. La Zerbinetta de Rita Streich es absolutamente proverbial. Su difícil aria "Grossmachtige Prinzessin" está interpretada no solo con una habilidad técnica digna del mejor elogio, sino también con un fraseo muy apropiado para el personaje, valiéndose de una voz cuya naturalidad de emisión y timbre penetrante eran realmente fascinantes. Rudolf Schock fue un excelente tenor, con voz heroica y fraseo amplio y contundente, ideales por lo demás para el personaje de Bacchus. Hasta las ninfas están interpretadas por cantantes de primera categoría (Grace Hoffman, Anny Felbermayer y Lisa Otto). No debemos olvidar al Arlecchino de ese gran barítono alemán llamado Herman Prey, en una de sus primeras grabaciones.
La dirección de Karajan es fantástica, sutil y delicada. El gran maestro austriaco era un gran amante de los sonidos orquestales tersos y hedonistas, y de la elegancia en el discurso musical. En una obra como esta, estos criterios encajan a la perfección. Sobre todo en el segundo acto, da una imagen de magia y vaporoso lirismo de verdadera antología. Versión imprescindible por lo tanto, que debe formar parte de la colección discográfica de cualquier amante de la música en general y de las obras de Richard Strauss en particular.

Stunning Strauss.......2007-01-09

This cast is perfection. "Ariadne" is absolutely musically gorgeous in spite of the silly story.

Perfecta interpretación.......2005-04-15

No tengo muchas palabras para expresar la genialidad interpretativa de esta grabación. Sólo escuchen el diálogo entre el Compositor y Zerbineta del Prólogo, o el monólogo de Ariadna (Brillante Schwarzkopf), o el sublime final de la ópera.

Excelente.......2005-04-15

He escuchado algunas grabaciones de la ópera Ariadna auf Naxos, entre ellas, la realizada por Sinopoli, y ninguna me ha cautivado como la de Herbert von Karajan.

Desde mi punto de vista personal, esta grabación de 1954 reúne a un reparto de lujo: Schwarzkopf, Seefried, Schor; una orquesta de excelencia: Philarmonia Orchestra, y una dirección espléndida: Karajan.

Entre los demás atributos musicales, Schwarzkopf, junto con Jessey Norman, personifica a una Ariadna de cinco estrellas: enorme brillantez vocal, riqueza de colores, perfecto control de la respiración y un fraseo refinado y expresivo.

Organic whole - Excellent cast fine playing and conducting.......2002-03-28

4 stars and not 5 for two reasons only, the first it is a fine recording for its age but not up to today's standards. The second is that although Schwarzkopf is very fine there are still moments when she is Schwarzkopf and not Ariadne (veiled tone and other typical S-kopf devices which became increasingly pronounced later in her career and in my humble opinion detract from the purity of vocal line). Nevertheless she is still much better than most recorded Ariadne interpretations.

This said the performance is masterly in playing, conducting and singing. Siegfried is stand out, not that I haven't heard better though possibly that was live! I believe you wil not be disappointed however I do not find myself playing it continuously therefore buy this with the view that there may well be others out there that would fill that bill.

I always play the Testament issue of the sixties recording of Lisa Della Casa & Rudolf schock singing just the Opera parts after this set. The recording is somewhat forward and the size of Della Casa's voice seems somewhat large, however this is how it really should be done (sung) but do not expect to ever hear it anywhere near as fine as this in the theatre or pehaps on disc again. I hope this helps.....

Strauss: Four Last Songs, Arabella/Della Casa (Vier letzte Lieder)
Average customer rating:

Mesmerizing

NOT TO BE MISSED

The Perfect Rendition?

Strauss: Four Last Songs, Arabella/Della Casa (Vier letzte Lieder)

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Richard Strauss - Capriccio / Schwarzkopf, Wächter, Gedda, Fischer-Dieskau, Hotter, Ludwig, Moffo, Philharmonia Orchestra, Sawallisch

ASIN: B00004XQ8H
Release Date: 2000-10-10

Tracks:

Four Last Songs: Beim Schlafengehen
Four Last Songs: September
Four Last Songs: Fruhling
Four Last Songs: I'm Abendrot
Arabella: Er ist der Richtige nicht fur mich...Aber der Richtige
Arabella: Der Richtige - so hab ich stets zu mir gesagt...Und du wirst mein Gebieter sein
Arabella: Das war sehr gut, Mandryka
Ariande auf Naxos: Es gibt ein Reich
Capriccio: Orchestral introduction
Capriccio: Wo ist mein Bruder?
Capriccio: Morgen mittag um elf!
Capriccio: Kein Andres, das mir so im Herzen loht
Capriccio: Ihre Liebe schlagt mir entgegen

Customer Reviews:

Mesmerizing.......2004-10-20

From the day it was released all those years ago, this remains one of the most beautiful (Strauss) recordings ever made. It's been available in different versions (I have the earlier release that includes the Wesendonck Lieder with Flagstaf), but it's worth it to get this one for the opera arias. I'm not a big fan of these operas, but it's unlikely you'll ever hear them sung with more beauty or understanding. You may have another favorite recording of the Songs, but you owe it to yourself to listen to what Della Casa does here. And not to slight Bohm either; he obviously knew this music inside out, and is miles ahead of most of his competition.

NOT TO BE MISSED.......2000-11-26

As one record reviewer put it: "It was a voice unlike any other." Indeed, for sheer vocal beauty no one matches Lisa della Casa, and a quick sampling of this disc's contents will demonstrate why Strauss himself identified her as his ideal Arabella. The voice's glory was its upper register: full, free, intensely colored, and exciting. But she had other gifts: superlative breath control (amazing in this music), naturalness of utterance, and perfect diction. Her tone quality suggests restrained emotion, and although she is Swiss, I can think of no singer who evokes Viennese elegance better. I like lots of singers past and present, and I admire many, but I worship this voice. If the house were on fire, I'd grab this CD before jumping out the window.

Although the Boehm-led 'Four Last Songs' are a classic performance, I find they are my least favorite part of this recording. Boehm's tempos are a little fast and della Casa, for all her beauty, sounds disengaged. But from then on she is matchless. The 'Arabella' duets are stunning, both for the singer's high level of vocal accomplishment and her ability to convey the character's changing moods. She sounds so genuine and unaffected and the voice is so gorgeous that I find myself drawn into the drama as with no other singer. She has good partners in Gueden and Schoeffler, but Poell brays relentlessly. Her rendition of the passage beginning "Und du wirst mein Gebieter sein" is my number one tear-inducing moment in all of recorded history. The 'Ariadne' aria is nicely sung, although she was even better a few years later for EMI/Testament. The 'Capriccio' final scene is ravishing from beginning to end, with della Casa's voice soaring gloriously above the Vienna Philharmonic's lush carpet of sound. For once you will see the moonlight shimmer during the orchestral interlude. It's almost too rich and delicious, like Sachertorte for breakfast.

Decca's remastering brings the singer forward and gives the orchestra more presence, but am I the only one who misses some high frequencies as a result? Although there are some terrific Strauss sopranos around these days, no one should be without della Casa. She DEFINES Strauss singing. Don't deny yourself this superlative musical experience.

The Perfect Rendition?.......2000-10-10

Lisa della Casa's recording of the Four Last Songs has been a part of my life for the past twenty years; and in my book it beats all the competition, past, present and (probably) future. It may not be your perfect rendition, because one's response to a voice is such a personal, unpredictable thing; but it is certainly mine. Della Casa's shimmering, silvery soprano soars radiantly above the lush, romantic orchestration; and even after many, many times of listening to this disc, I still find something new in it. I never get tired of it, and it never fails to move me. The excerpts from Arabella are also excellent, although not as well recorded as the Four Last Songs. However, they reward repeated listening, and they preserve della Casa's celebrated interpretation of Arabella (her most famous stage role). Even if you have heard other interpreters of the Four Last Songs, and have your own favourite, please give this a try. For sheer tonal beauty, it cannot be beaten.

Sumi Jo - Virtuoso Arias ~ Verdi, Rossini, Donizetti, Meyerbeer

Average customer rating:

I found her
THE BEST!!!!
A Great Showcase For The Great Soprano
Virtuoso Opera Star! The Sumi Jo Album To Own!
Acrobatic singing

Sumi Jo - Virtuoso Arias ~ Verdi, Rossini, Donizetti, Meyerbeer
Giuseppe Verdi , Gioachino Rossini , Gaetano Donizetti , Giacomo Meyerbeer , Léo Delibes , Vincenzo Bellini , Richard Strauss , Leonard Bernstein , Wolfgang Amadeus Mozart , Young-Ha Yoon , Paolo Olmi , Sumi Jo , Monte Carlo Philharmonic Orchestra , Anne Maugue , and Marius Constant
Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

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ASIN: B000005EDE
Release Date: 1995-02-07

Tracks:

Il Barbiere di Siviglia: 'Una voce poco fa' (Rosina)
La Sonnambula (Act 2): 'Ah non credea mirarti' (Amina)
Lakme (Act 2, Scene 10): The Bell Song (Lakme)
Rigoletto (Act 1, Scene 13): 'Gualtier Maide...caro nome' (Gilda)
Giacomo Meyerbeer: 'Ombres legeres' (Dinora)
Gaetano Donizetti: The Mad Scene (Lucie)
Adriadne Auf Naxos: Zerbinetta's Aria
Leonard Bernstein: 'Glitter And Be Gay' (Cunegonde)
Die Zauberflote: 'Der Holle Rache...' (Queen of the Night)
Boribat

Customer Reviews:

I found her.......2006-12-27

I was looking for a complete recording of Zerbinetta's aria (I still don't know whether I have one, this one is 7 minutes long, 5 minutes were cut from Lucia's mad scene, I thought Zerbinetta's aria was much longer than 7 minutes), I had Gruberova singing it many years ago, but I cannot take her style and got rid of it. Sills (my main reason for buying the DVD) only sings part of it on "Made in America" which was disappointing, as was the entire DVD (all hints and glimpses and snippets, nothing, or very little, complete, very unsatisfying). So damnit just went through Strauss (ick, don't like any of the Strausses) on Amazon looking for the cheapest most likely to be complete recording of this aria and settled on the Sumi Jo. And my god what a jolt! This is the most beautiful new thing I've heard in years! She's another Pons. Good, clear, perfect separation of notes, wonderful range, warm beautiful voice, agile, wonderful Sutherland leaps to the last note of arias. This is it. This is wonderful. Just ordered 2 more of her albums. Should be here in a few days. A reviewer of another of her albums said she can't sing as fast as someone name Kirkby (or something), so immediately looked up Kirkby. Thought I'd found another jewel. Well, no. Kirkby specializes in Renaissance, Baroque and Classical music, mainly religious. That's out. But sigh maybe not. I only went through 3 or 4 or 5 pages of her stuff, then lost interest and stopped. Maybe a Meyerbeer or Donizetti popped up later. I'm not current with the world of music or any other art. No interest. Generally don't like it. And I stick pretty close to Sutherland, Sills, Callas (up to a point), and what Pons I can find. But this album is absolutely wonderful, and I highly recommend it to anyone who likes coloratura singing.

THE BEST!!!!.......2005-09-24

No question about it.
Never have I heard such a pure, clean voice.
Perfect colorattura.

A Great Showcase For The Great Soprano.......2004-01-31

Born in Seoul, Korea, Sumi Jo was discovered by the famous and late conductor Herbert Von Karajan. His choices in singers has always been superb- he has been credited for launching the careers of such opera legends as Maria Callas and most recently Cecilia Bartoli. Sumi Jo is a singer of the lyric-coloratura department, but she is equally successfully in spinto, dramatic and bel canto repertoire. Her voice, immediately indicative of sweet youthfulness, passion and stratospheric high notes, can also belt out the long legato phrases of the bel canto operas of Rossini, Bellini and Donizetti. She is "opera fluent" in the languages of German, Italian and French. This album showcases her versatility. It would'nt be called Virtuoso Arias for nothing. These arias are indeed studies in virtuosity for voice. Let's take a look at some of them.

Rosina's Aria From Barber Of Seville: Rossini's Barber Of Seville was the most popular opera he ever wrote. The story tells of the courtship of Count Almaviva and Rosina, with the aid of the clever barber Figaro. Rosini's first aria, "Une voce poco fa" is a beautiful aria which not only shows off a singer's talents but also the character of Rosina herself. She is charming, docile but feisty and fiery. The role of Rosina was written for the mezzo soprano voice. In fact, most if not all of Rossini's heroines were mezzo soprano roles. This is because in Rossini's day, the tenor Manuel Garcia's daughters were employed in the opera and they were both mezzo sopranos. But the allure of Rosina's character has drawn even the most dramatic sopranos, among them Maria Callas. Other interpretors include Joan Sutherland and Beverly Sills and mezzo soprano Cecilia Bartoli, who most efficiently sings the role with more closeness to the original Rossini mezzo soprano Garcia girls. Sumi Jo is able to inflect a "mezzo" voice in the singing but she embellishes passages with dazzling coloratura. It's a tour de force from Sumi Jo.

The Sleepwalking Scene From Sonnambula: Bellini's La Sonnambula is a bel canto opera if there ever was one. It was reportedly Queen Victoria's favorite opera. The story is about a beautiful village girl who falls in love, is temporarily estranged from her love but reunited for a happy finale. The Sleepwalking Scene is a close cousin of the Mad Scene. She momentarily loses grip on reality and revels in a hallucination while she sleepswalks across a bridge in the village. The first portions call for a sweet, lyric voice with long flowing lines. Sumi Jo impresses us with this ability. The last portions demand vibrant coloratura. Sumi Jo has the right stuff for this, as has been mentioned. She leaps with her voice, runs through scales and arpeggios beautifully and ends with squillo high notes.

The Bell Song From Lakme: Delibes' Lakme is a beautiful French opera, made famous by the greatest interpretor Madie Mesple. The Bell Song is a showcase for coloratura and for lyricism. Lakme tells the story of the Pariah's daughter, beginning with tenderness and romance, which is complimented with the romantic and exotic sound of the music and finalizes the aria with bird-like coloratura. Sumi Jo's coloratura is decorative and tasteful. She is a coloratura soprano in the tradition of such names as Lily Pons, Roberta Peters and Beverly Sills.

Gilda's Aria From Rigoletto: Caro Nome is a song about love. Gilda, Rigolettos' daughter, has made the mistake of falling in love with the decadent Duke who is disguised as Gualtier Malde, a music student. Gilda's aria expresses innocent love and exuberance. Sumi Jo's voice is perfect for this kind of role. She is young and her voice comes off as young. In addition, Sumi Jo is a beautiful woman. If she trains her voice for it any further, she might become a successful Verdi heroine. Perhaps Desdemona from Othello is next ? Or perhaps the more famous Violetta Valery from La Traviata ? A great aria in Sumi's hands.

The Mad Scene From Lucia is on here and it's delivery is close to perfect. Sumi comes off as tormented, melancholy and grieving. This is preferable to radical hysteria as some sopranos have made the mistake of doing. Her elegant phrasing matches the music and she tops off the scene with coloratura and high notes.

Zerbinetta's Aria From Ariadne: This aria is considered the most difficult aria for a coloratura soprano. Why that is I don't quite understand. The music is beautiful and flowing, as is the voice that Strauss' music was written for. The aria demands breath control and soaring high notes. Sumi Jo is able to do this perfectly, ranking as one of the divas of this type of singing with such names as Kathleen Battle and Natalie Dessay.

So there you have it. This is a must have for fans of Sumi Jo and fans of virtuosic singing. It is a superb album, despite what comments say, most likely from people who haven't even heard the album and how truly great it is.

Virtuoso Opera Star! The Sumi Jo Album To Own!.......2003-10-22

Korean soprano Sumi Jo has established herself as a remarkable and gifted lyric coloratura soprano in recent years. She has a vast following wherever she goes- whether she is touring Europe, performing in American opera houses or singing in her native Korea. Sumi Jo's good looks, winning personality and acting abilities add to her allure. She's almost the equivalent of Beverly Sills in many ways. Her legato and coloratura technique is thrilling. Her vocal embellishments in any coloratura role is exceptional. Plus, as mentioned, she can really act. I first had the privelege to watch Sumi Jo in a live performance at the Los Angeles Opera. She was performing as Olympia, the doll in Offenbach's "The Tales Of Hoffman." In addition to her vibrant coloratura roulades and passages, she was hilarious and easily won the audience. Among her many roles, she has performed as Rosina (Barber Of Seville), Queen of the Night (Mozart's Magic Flute and long considered her signature role), Lucia Di Lammermoor, Gilda from Rigoletto, Zerbinetta, Lakme, and various other bel canto heroines of Donizetti and Verdi as well as her touching performance as Mimi in Puccini's La Boheme. Sumi Jo has made it as a successful recording artist as well.These days, an opera singer with huge star power cannot dismiss the temptation of recording albums, sometimes in coloraboration with other singers or contemporary rock or pop singers. This album features the best of Sumi Jo in appropriately virtuoso arias from bel canto operas. Especially dazzling is her Zerbinetta and Lakme. I urge any fan of Sumi Jo to get this album. Viva the diva.

Acrobatic singing.......2003-04-20

I love coloratura singers and I find that Sumi Jo is one of the best... in this CD we can listen to different kinds of repertoire: from mozart to bernstein to a folk korean song.
in each track she shows her amazing skill in high and clean notes. If you buy ths cd you won't regret: sometimes you will take her voice for a flute for she is incredibly clean and effortless. In Lakmé aria you will listen at the end the best E sovracuto ever heard: it's clean, it's regular in the "vibrato", it starts and ends in the exact moment it should... wonderful. Glitter and be gay it's astonishing: it seems like she never stops climbing on higher and higher!!! Maybe queen of night's aria is a little bit slower than in other records and may sound less incisive, but it's always a pleasure listening to the perfect acrobatic singing of Ms Jo. With Natalie Dessay (who is even higher than Sumi, but less clear) Sumi is the best coloratura soprano of our times, and this CD shows her ability!

Average customer rating:

Thoroughly entertaining sample of five fine young artists

A Night At The Opera

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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HOMAGE: The Age of the Diva

ASIN: B00030B9CU
Release Date: 2004-11-16

Tracks:

Un Di, Se Ben Rammentomi
Parto, Parto, Ma Tu Ben Mio
Quel Trouble Inconnu Me Penetre?
Alerte, Alerte, Ou Vous Etes Perdus!
Vecchia Zimarra, Senti
La Ci Darem La Mano
Son Io, Mio Carlo
O Carlo, Ascolta, La Madre T'aspetta
Barcarolle
Sorge Infausta Una Procella
Arise, Arise Ye Subterranean Winds
Vanne... Lasciami, Ne Timor Di Me Ti Prenda...
Au Fond Du Temple Saint
Seien Wir Wieder Gut!
Avete Torto! E Fine! Astuto...
Suoni La Tromba, E Intrepido

Album Description

A Night At The Opera features five young singers who have already made considerable names for themselves. The soprano Indra Thomas has been acclaimed as the next great Verdi soprano, while the mezzo-soprano Kristine Jepson has enjoyed great success in the key role of Octavian at the New York Met, in addition to other roles there and throughout Europe and America. The lyric tenor Matthew Polenzani's international career also includes appearances at the Met in a varied and challenging repertoire. The Polish baritone Mariusz Kwiecien's operatic appearances have included the Met and the Vienna State Opera, with a number of distinguished awards, and the prize-winning bass-baritone Valerian Ruminski boasts a particularly wide repertoire in a career of growing distinction. These marvelous talents are backed by the renowned Royal Philharmonic Orchestra, with internationally noted opera conductor Charles Rosekrans.

Customer Reviews:

Thoroughly entertaining sample of five fine young artists.......2005-05-13

I have only a few quibbles about this release, but it really is enjoyable, and repeated listenings have only increased my admiration. The repertoire ranges across much of the operatic spectrum - okay, there's no Wagner, but perhaps that's too much to expect at this point in their careers. Since most of these selections have been recorded by other, established artists, individual comparisons are pointless. The overall impression given by these singers is that of vibrant youth and spontaneous joy in singing. Matthew Polenzani is perhaps the best known of these, and certainly justifies one's attention with some fine tenorizing. If he can't quite pull off the SCHICCHI aria (who has, lately?) he sings a splendid Faust, and there are darn few good ones these days. He's a real pleasure to hear. Since I've heard Indra Thomas live on numerous occasions, I'm thrilled to have her on CDs at last. She possesses a soaring, juicy lyric soprano (unfortunately not all that well captured here - the voice has a gorgeous spin to it, reminiscent of the young Leontyne Price, and that emerges from the recording only occasionally). Ms. Thomas sang the most beautiful and one of the most exciting performances of the TROVATORE Leonora I have ever heard (and I've heard some great Leonoras), and I'm glad to have a memento of it here. Valerian Ruminski, whose bass is exceptionally beautiful and well-focused, is one of the most fluent male exponents of coloratura that I've heard in 50 years of live performances, so I'm delighted to have the Purcell and Handel selections. In addition, he possesses what Walter Legge called "an immediately recognizable timbre" - the voice sticks in the memory. Kristine Jepson and Mariusz Kwiecien also acquit themselves well. My single real reservation about the individual selections is Ms. Jepson's track of the Composer's outburst from ARIADNE ("Sein wir wieder gut!"). In common with many mezzos, she sounds overparted by its high, soaring lines, though she throws herself into with gusto. To my mind, this role really is best sung by a soprano. Nevertheless, Ms. Jepson proves herself adept enough for Sesto and Zerlina. Mr. Kwiecien's robust baritone is a treat to hear in Verdi, and he and Mr. Ruminski sing a wonderful PURITANI duet. The orchestra plays well and while one might wish the conductor was a bit more "accommodating" to the singers, things move along nicely. This really is, on the whole, an invigorating and tuneful evening's worth of entertainment and a promise of fine things to come.

Strauss - Ariadne auf Naxos / J. Norman · Gruberova · Varady · Frey · Bär · Fischer-Dieskau · Asmus · Finke · Lind · J. Kaufmann · GO Leipzig · Masur

Average customer rating:

Hidden Jewels
exemplary Ariadne
An Enjoyable Set With Many Good Qualities
A signature role for Norman, but let down in other respects
This is what opera is all about!

Strauss - Ariadne auf Naxos / J. Norman · Gruberova · Varady · Frey · Bär · Fischer-Dieskau · Asmus · Finke · Lind · J. Kaufmann · GO Leipzig · Masur
Richard Strauss , Kurt Masur , Jessye Norman , Edita Gruberova , Gewandhausorchester Leipzig , Julia Varady , Paul Frey , Dietrich Fischer-Dieskau , Olaf Bär , Eva Lind , Julie Kaufmann , Rudolf Asmus , Martin Finke , Marianne Rørholm, Andreas Conrad Wolfgang Millgramm , and Rolf Wollrad, Gerd Wolf Egbert Junghanns
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000040ZQ
Release Date: 1990-10-25

Tracks:

Ariadne auf Naxos: Prologue: Orchestral Introduction
Ariadne auf Naxos: Mein Herr Haushofmeister - Musiklehrer, Haushofmeister, Lakai, Offizer, Komponist
Ariadne auf Naxos: Du allmaechtiger Gott - Komponist, Tenor, Peruckenmacher, Zerbinetta, Primadonna, Musiklehrer, Tanzmeister
Ariadne auf Naxos: Meine Partner, meine erprobten Freunde - Zerbinetta, Komponist, Musiklehrer, Primadonna, Tanzmeister, Lakai, Haushofmeister
Ariadne auf Naxos: Ein Augenblick ist wenig - Zerbinetta, Komponist
Ariadne auf Naxos: An Ihre Plaetze, meine Damen und Herrn - Musiklehrer, Primadonna
Ariadne auf Naxos: Sein wir wieder gut - Komponist, Musiklehrer
Ariadne auf Naxos: Overture
Ariadne auf Naxos: Schlaeft sie? - Najade, Dryade, Echo
Ariadne auf Naxos: Ach! Wo war ich? - Adriane, Echo, Harlekin, Zerbinetta, Truffaldin, Najade, Dryade, Scaramuccio
Ariadne auf Naxos: Lieben, Hassen, Hoffen, Zagen - Harlekin, Echo, Zerbinetta
Ariadne auf Naxos: Es gibt ein Reich - Adraine

Tracks:

Ariadne auf Naxos: Die Dame gibt mir trueben Sinn - Wie sie sich schwingen - Brighella, Scaramuccio, Harlekin, Truffaldin, Zerbinetta
Ariadne auf Naxos: Grossmaechtige Prinzessin - Zerbinetta
Ariadne auf Naxos: Huebsch gepredigt! Aber tauben Ohren - Harlekin, Zerbinetta, Brighella, Scaramuccio, Truffaldin
Ariadne auf Naxos: Ein schoenes Wunder! - Dryade, Najade, Echo
Ariadne auf Naxos: Circe, kannst du mich hoeren? - Bacchus, Adriane, Najade, Dryade, Echo
Ariadne auf Naxos: Ich gruesse dich, du Bote aller Boten! - Adraine, Bracchus
Ariadne auf Naxos: Gibt es kein Hinueber? - Adriane, Bacchus, Najade, Echo, Dryade, Zerbinetta

Customer Reviews:

Hidden Jewels.......2006-04-04

Much like Strauss's Capriccio, Ariadne offers intellectual stimulation as well as beautiful melodies and an opportunity for singers to show off.

I'll leave the intellectual part up to you. To appreciate it requires that you carefully read the libretto and think about the characters' discussion of what is love, what is music, words vs tunes, and so forth.

Now, for the beautiful music part, this CD offers you many opportunities to hear ethereal melodies and spectacular singing. Jessye Norman seems to be one of the only singers with the power to do justice to arias such as "Es gibt ein Reich." Edita Gruberova turns in the best performance I've ever heard of Zerbinetta. She's playful, yet supremely confident, and demonstrates her virtuoso talents over and over. You'll be dazzled that the human voice can do what Gruberova makes seem easy.

In Ariadne, it's always hard to find a Bacchus who is up to the volume demands. Paul Frey does as well or better than any I've heard.

The trio of the Muses (Echo and two others) has some hauntingly delightful melodies (like "Toenne, toenne, suesse Stimme). I wish they sang louder, but yes--they're supposed to be in the background. Please be ready to turn up the volume to hear their heavenly trio.

Ariadne is not a bel canto, Italian singing show. It has intellectual and spiritual hidden jewels for those with ears to hear them. And this is an outstanding performance. Gruberova's Zerbinetta alone is worth the price of the CD set.

exemplary Ariadne.......2006-03-17

This is one of my all-time favorite opera recordings. First off, Jessye Norman is my favorite Ariadne of all time. Strauss didn't realize this when he was writing the opera, but he was writing the role for Jessye Norman. Also, Edita Gruberova is my all time favorite Zerbinetta. She sings that 11 minute aria like it was nothing. She is the most technically dazzling Zerbinetta I know of. All the supporting characters are good, and the Composer is fabulous, but since Ariadne and Zerbinetta are so amazing, I don't think you'll listen to any other parts of this recording.

An Enjoyable Set With Many Good Qualities.......2005-12-03

ARIADNE AUF NAXOS has to have one of the cleverest plots and some of the most sophisticated music in opera thanks to the ability and creativity of composer Richard Strauss and librettist Hugo von Hofmannsthall. The prologue tells the story of an opera company that plans to perform a serious work but the commandant of the opera house, who is also the financial backer, wants a comic ballet performed instead. The composer wants to quit but can't afford to so a compromise is suggested that will be a combination of the two works "Ariadne" and "The Inconstant Zerbinetta." The second act of the opera is the opera itself.

This particular work requires performers who can both act and sing, and this quality has to come across both when staged and recorded. This set has a good combination of acting that comes across in the prologue and the singing of the opera is phenomenal. The two female leads Jesse Norman and Edita Gruberova who are the Prima Donna/Ariadne and Zerbinetta respectively each bring special qualities to the work. Norman handles large roles beautifully and this is evident especially in "Gibt es kien Hinueber" the finale of the opera. Gruberova's voice is perfectly suited for the role of Zerbinetta but she also had the ability to maneuver Strauss' demanding music. I'm not always certain that Paul Frey's Tenor/Bacchus is as strong as it could be, but in the most demanding parts of his role, there is an intensity that cannot be matched. Julia Varady does a good job as the composer and as far as Dietrich Fischer-Dieskau is concerned, I'm not sure there's any role he doesn't handle superbly.

Strauss' music, like that of his role model Richard Wagner, is for many an acquired taste and there can be disagreements as to which set is best, whether the post-war casts outshine more modern casts, and which conductor is truest to the score and composer's attention. Getting into that debate could prove futile, but as far as consistency is concerned, this is a solid set with wonderful performers and it's certain to be a favorite for years to come.

A signature role for Norman, but let down in other respects.......2005-09-18

I would listen to this recording for the sake of Norman's plush, statuesque Ariadne, but nothing else is really up to scratch, and when you consider the considdrable weakness of the Bacchus and the dull conducting, this set isn't competitive with classic readings from Karajan and bohm, or modern ones from Levine and Sinopoli.

This is what opera is all about!.......2005-07-04

This 2-CD offering of Strauss; "Ariadne auf Naxos" is a digital remastering of a triumphant 1988 recording featuring the incomparable Jessye Norman singing the role of Primadonna/Ariadne, and what a thrill it is. It is the tale of a traveling troupe sent to entertain a Viennese nobleman who expects that on short notice the cast will sing its opera seria, Ariadne auf Naxos not before and not after, but during the performance of an opera buffo, The Inconstant Zerbinetta. "It is also his Lordship's pleasure," the Major-Domo instructs the composer, "that both pieces, the comic one and the tragic one, complete with all the characters and the correct music, just as was ordered and paid for, be served up on stage simultaneously." It is in this context that the music of Strauss and the witty libretto of Hugo von Hofmannsthall combine to make this piece the classic it is. First, the music: In the era when music was geared toward the audience, the music here is both melodic and, in its pacing, lively. The human dilemma faced by a troupe of performers, paid to do the near-impossible on short notice, to everyone's chagrin, is told with wit and style in a remarkably adept and timeless libretto that is as sharp today as when it was first written. Kurt Masur's conducting of the Gewandhausorchester Leipzig, coupled with brilliant performances from a talented cast headed by Jessye Norman, singing at the height of her career, Julia Varady, singing the role of The Composer; Edita Gruberova, singing the role of Zerbinetta; Paul Frey, singing the role of Bacchus; and Dietrich Fischer-Dieskau, singing the role of The Music Master, make this version of this witty opera, one worth owning. The remastering is even and clear, the music is delightful and melodious, and the delivery of both the spoken words and music of the performers is sharp and involved. The accompanying booklet includes the full libretto in German and English and a brief descriptive piece of the story within the story. On the downside, the booklet lacks even a perfunctory biography or production shots of the performers. Still, Philips deserves a "tip of the hat" for re-releasing this version on a new CD.

Average customer rating:

A captivating stage performer doesn't register as dramatically on disc
Goerne Excellent in Familiar and Unusual Repertory

Matthias Goerne - Arias
Wolfgang Amadeus Mozart , Richard Wagner , Robert Schumann , Engelbert Humperdinck , Richard Strauss , Erich Wolfgang Korngold , Alban Berg , Matthias Görne , Dorothea Röschmann , Manfred Honeck , and Swedish Radio Symphony Orchestra
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Matthias Goerne - Bach Cantatas / Albrecht Mayer · Camerata Academia Salzburg · Sir Roger Norrington
Schumann Lieder
Matthias Goerne · Vladimir Ashkenazy ~ Schumann - Dichterliebe · Liederkreis op. 24
Matthias Goerne ~ Schubert Lieder - Goethe -

ASIN: B000055X2Q
Release Date: 2000-12-12

Tracks:

Die Zauberflote: Der Vogelfanger bin ich ja
Die Zauberflote: Bei Mannern, welche Liebe fuhlen
Die Zauberflote: Ein Madchen oder Weibchen
Le nozze di Figaro: Hai gia vinta la causa !
Le nozze di Figaro: Crudel ! perche finora
Don Giovanni: Deh, vieni alla finestra
Tannhauser: Blick ich umher in diesem edlen Kreise
Tannhauser: Wie Todesahnung...O du mein holder Abendstern
Szenen aus Goethes Faust: Ein Sumpf zieht am Gebirge hin
Konigskinder: Verdorben! Gestorben!... Ihr Kindlein, sie sind gefunden
Ariadne auf Naxos: Harlekinlied
Die tote Stadt: Mein Sehnen, mein Wahnen
Wozzeck: Wir arme Leut!
Wozzeck: Dort links geht's in die Stadt...Du sollst da bleiben, Marie

Amazon.com

Possessor of one of today's most beautiful baritone voices, Matthias Goerne has been associated, on stage and disc, more with lieder than with opera. Listeners who were spellbound by the emotional impact of his performances of Schubert's great song cycles were amazed at the comic perfection of his Papageno in his Metropolitan Opera debut. This recording, on which he creates and impersonates nine vastly different characters from operas spanning three centuries, is an even bigger surprise. Using--but never abusing--an extraordinary range of vocal and expressive color and inflection, he captures Papageno's humor, Count Almaviva's malicious cunning, Don Giovanni's seductiveness, Wolfram von Eschenbach's inward, chaste devoutness, and Wozzek's yearning desperation and madness, with equally total involvement and conviction. Along the way there are also rarities: the Minstrel's heartbreaking lament from Humperdinck's Die Königskinder--unjustly neglected if the rest of the opera is indeed as beautiful as this aria--Harlekin's ironic ditty from Strauss's Ariadne; the Pierrot's sensuous dream-song from Korngold's Die tote Stadt; and the final, heroically dramatic section of Schumann's Scenes from Faust. Soprano Dorothea Röschmann, his partner in four duets, also takes on several greatly varied roles with admirable flexibility. A children's chorus and a women's chorus participate in one aria to lovely effect, and the orchestra is excellent. --Edith Eisler

Customer Reviews:

A captivating stage performer doesn't register as dramatically on disc.......2005-09-24

Georne's picture on the cover of this CD implies an edgy, even angst-ridden interpreter, but the singing one finds inside is good average baritone work. I hear no musical revelations here, and although Goern'es voice is instantly recognizable, his characterization is rather faceless. If you think Hermann Prey or Theo Adam is a great baritone, I guess you'll think Goerne is one, too. Compared to a similar baritone recital on Sony with Bo Skovhus, I'd give the edge to Skovhus. Thomas Hampson, Thomas Quasthoff, and Dmitri Hvorostovsky have nothing to fear; maybe even Nathan Gunn has nothing to fear. All in all, I expected more from a singer who reputation is flying high.

Goerne Excellent in Familiar and Unusual Repertory.......2003-10-10

Many baritones record Papegano's first aria ("Die Vogelfanger bin ich, ja"), Don Giovanni's serenade, and Wolfram's Evening Star Song. But when was the last time you saw Count Almaviva's aria ("Vedro, mentr'io sospiro") from LE NOZZE DI FIGARO, Wolfram's "Blick, ich umher," or the murder scene from WOZZECK excerpted on a recital disc? Matthias Goerne's "Arias" CD includes all of these items and more, all sung with beauty, feeling, and musicality by one of the most intelligent and charismatic male singers of today. Goerne is joined in three duets ("Bei Mannern" from DIE ZAUBERFLOTE, "Crudel, perche finora" from FIGARO, and the WOZZECK scene) by soprano Dorothea Roschmann, whose sound isn't quite to my taste (it's a bit lacking in warmth) but who is as musical and as sensitive as her partner. The conductor, Manfred Honeck, is also an ideal match both for Goerne and for the music. Matthias Goerne's "Arias" is an indispensable disc for admirers of German music, the baritone voice, or Goerne himself -- or for those who would just like to hear an interestingly programmed aria recital.

Average customer rating:

A great reading now out in a bargain two-fer from Europe
A classic, surely...

Richard Strauss: Ariadne auf Naxos

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001G7L
Release Date: 1990-10-25

Customer Reviews:

A great reading now out in a bargain two-fer from Europe.......2005-09-18

I own every major recording of Ariadne, and this is one of my favorites, on a par with the Sinopoli among modern readings and just below the classic Karajan on EMI from the Fifties. Everyone is first rate, Levine's conducting is excellent, and Kathleen Battle gives one of her most charming as well as virtuosic performances on disc as Zerbinetta. The Bacchus falls a bit short, but every tenor except Heppner does--the role is a killer. Highly recommended, even without libretto. Look for the bargain twofer rather than the full-priced pressing.

A classic, surely..........2003-11-22

the EMI mono set, conducted by von Karajan, is widely regarded a classic -- exemplary singers who completely understand their roles and the culture that produced Strauss and von Hoffmansthal, a master of the craft to guide and shape the effort (Walter Legge) -- and, oh yeah, that von Karajan guy, too!

The same can be said for this performance, recorded live in Salzburg, with perhaps restricted mono sound compared with Legge's production -- also mono, but beautiful enough to make you wonder why they bothered with stereo at all!

What clinches this set for me is the presence of Lisa Della Casa: beautiful voice, beautiful woman -- the perfect singing actress in Mozart and Strauss, in my opinion. And Bohm is the conductor, with a complete understanding of all things Straussian. And the rest of the cast is supurb. It seems the 50s were a golden age for Strauss, and we seem to be enjoying a similar richness today: Jesse Norman, Sumi Jo, and so many others. Lucky us.

As for the EMI recording -- I still own the lp set. And lps still sound pretty good, lest we forget.

P.S. This is definitely not the Levine recording, which is listed as a DG Double elsewhere -- a good buy if you are in the market for it. This ARIADNE is probably from the same performance as the Gala set, but the sound is far better. Similarly, there is a Gala IL TROVATORE with Price and Correli, cond. by von Karajan that is available on DG (look for it!) with superior sound. I have personal experience with both recordings -- all 4, actually -- and the DG issues of both Strauss and Verdi are, happily, in my collection.