R. Strauss: Der Rosenkavalier [Box set]

Der Rosenkavalier, opera, Op. 59 (TrV 227)
Composed by Richard Strauss
with Leonie Rysanek, Christa Ludwig, Manfred Jungwirth, Hilda De Groote, Erich Kunz, Vienna State Opera Choir
Conducted by Josef Krips
Elektra, opera, Op. 58 (TrV 223) Ich kann nicht sitzen
Composed by Richard Strauss
with Leonie Rysanek, Christel Goltz
Conducted by Karl Bohm
Elektra, opera, Op. 58 (TrV 223) Elektra, Schwester
Composed by Richard Strauss
with Leonie Rysanek, Christel Goltz
Conducted by Karl Bohm
Die Frau ohne Schatten (The Woman without a Shadow), opera, Op. 65 (TrV 234) Aus unsern Taten
Composed by Richard Strauss
with Leonie Rysanek
Conducted by Meinhard von Zallinger
Die Liebe der Danae, opera, Op. 83 (TrV 278) Act 3: Wie umgibst du mich mit Frieden
Composed by Richard Strauss
with Leonie Rysanek, Paul Schoeffler
Conducted by Rudolf Kempe

R. Strauss: Der Rosenkavalier,Erich Kunz,Manfred Jungwirth,Richard Strauss,Josef Krips,Karl Böhm,Meinhard von Zallinger,Rudolf Kempe,Christa Ludwig,Hilda De Groote,Hilde de Groot,Leonie Rysanek,Christel Goltz,Paul Schoeffler,Wiener Staatsopernchor,Della Voce Luna,German/Austrian Romantic Opera,Opera

R. Strauss: Also Sprach Zarathustra / Rosenkavalier Suite / Don Juan

Average customer rating:

Negligible performance with wonderful sonics
Wonderful performances with incredible sonics!
Hummm...

R. Strauss: Also Sprach Zarathustra / Rosenkavalier Suite / Don Juan

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B000003FXL
Release Date: 1995-08-15

Tracks:

Also sprach Zarathustra, Op. 30 - Thus Spake Zarathustra - Ainsi parlait Zarathoustra: Introduction
Also sprach Zarathustra, Op. 30 - Thus Spake Zarathustra - Ainsi parlait Zarathoustra: Of the people of the Unseen World - Des habitants de l'arriere-monde
Also sprach Zarathustra, Op. 30 - Thus Spake Zarathustra - Ainsi parlait Zarathoustra: Of the Great Longing - De la grande nostalgie
Also sprach Zarathustra, Op. 30 - Thus Spake Zarathustra - Ainsi parlait Zarathoustra: Of Joys and Passions - Des joies et des passions
Also sprach Zarathustra, Op. 30 - Thus Spake Zarathustra - Ainsi parlait Zarathoustra: Dirge - Hymne funebre
Also sprach Zarathustra, Op. 30 - Thus Spake Zarathustra - Ainsi parlait Zarathoustra: Of Science - De la science
Also sprach Zarathustra, Op. 30 - Thus Spake Zarathustra - Ainsi parlait Zarathoustra: The Convalescent - La convalescence
Also sprach Zarathustra, Op. 30 - Thus Spake Zarathustra - Ainsi parlait Zarathoustra: Dance Song - Chant de la danse
Also sprach Zarathustra, Op. 30 - Thus Spake Zarathustra - Ainsi parlait Zarathoustra: Night Wanderer's Song - Chanson du veilleur
Rosenkavalier Suite, Op. 59: Rosenkavalier Suite, Op.59
Don Juan, Op. 20: Don Juan, Op.20

Customer Reviews:

Negligible performance with wonderful sonics.......2005-10-01

This daunting cover photo with a scowling Maazel has lost its point--on earlier releases, his hands, now shown normally, used to be electric blue! That was to connote the magic he transmitted through them, a la Stokowski, I suppose. As it turns out, the sound on this RCA release is excellent in terms of detail and impact, but I don't hear any magic form the podium.

Maazel takes a faceless,, uninolving approach to Also Sprach Zarathustra, and no amount of sonic wizardry can compensate for that. I think anyone might enjoy this reading, but for real magic, turn to Blomstedt on Decca, where the amazing sonics serve a much more passionate performance.

Wonderful performances with incredible sonics!.......2004-05-31

These Strauss masterpieces have never received better modern performances. The Bavarian Radio Symphony is first rate and Lorin Maazel seems to be supercharged as he leads them through these masterworks. These are highly recommended in the Peguin Guide and I couldn't agree more. They are very passionate and exciting performances.

Hummm..........2002-08-13

A nice attempt to create a surround sound experience for the listener. There is a reason no one has done a review on this album - because it is not worth listening to. From the opening measures, the tone produced from this cd is bright enough to light a dark room. It has a "sizzle" quality that lends itself to abrassive fortissimo and takes away from all the lush sweeping qualities of the Strauss tone poems. There is pretty much one color to this entire CD, and that is bright neon yellow. The Bavarian symphony does a fine job of playing these technically difficult piece, but there is a sporatic rushed quality that should be replaced with a warm energetic quality. Some of the balance is really off too. Soloists can appear far in the distance and there is not much lower depth to the sound. My gift of two stars is overly generous.

R. Strauss: Till Eulenspiegel's Merry Pranks; Don Juan; Death and Transfiguration; Waltzes from Der Rosenkavalier

Average customer rating:

R. Strauss: Till Eulenspiegel's Merry Pranks; Don Juan; Death and Transfiguration; Waltzes from Der Rosenkavalier

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
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Johannes Brahms: The Symphonies

ASIN: B0007KTB4E
Release Date: 2005-03-08

R. Strauss: Der Rosenkavalier/Four Symphonic Interludes/Introduction And Moonlight Music/Salomes Tanz

Average customer rating:

Outstanding and quintessential Vienna Philharmonic/Strauss recording
Needs a good kick...

R. Strauss: Der Rosenkavalier/Four Symphonic Interludes/Introduction And Moonlight Music/Salomes Tanz

Manufacturer: Deutsche Grammophon / Polygram Records
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | 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
ASIN: B000001GIY
Release Date: 1994-02-15

Tracks:

'Der Rosenkavalier': Suite For Orchestra
'Intermezzo': Four Symphonic Interludes: 1. Travel Fever And Waltz Scene
'Intermezzo': Four Symphonic Interludes: 2. Dreaming By The Fireside
'Intermezzo': Four Symphonic Interludes: 3. At The Skat Table
'Intermezzo': Four Symphonic Interludes: 4. Happy End
'Capriccio':Introduction & Moonlight Music: Introduktion 'String Sextet'
'Capriccio':Introduction & Moonlight Music: Mondscheinmusik
'Salome': Dance Of The Seven Veils

Customer Reviews:

Outstanding and quintessential Vienna Philharmonic/Strauss recording.......2006-11-19

A must-have particularly for lovers of great string and horn playing. This recording is not about the conductor but about the music - perhaps the highest compliment one can give any conductor. Previn knows that this orchestra understands and feels this music like no other - he simply lets them sing. The Rosenkavalier Suite is anthological both in terms of style, phrasing and sound. The quiet waltz (Ohne mich...) is wonderfully delicate and played in the subtle Viennese Waltz rythm that other orchestras never seem to get; the trio finale with the fabulous horns soaring over the strings is glorious. Perhaps the most beautiful example of the Vienna Horn sound is heard in the long horn solo in Moonlight Music (Capriccio) - played by Wolfgang Tomboeck jr., it's simply gorgeous and I can't listen to it often enough. The other selections are likewise very impressive. This is one of Previn's best.

Needs a good kick..........2003-08-30

Vienna Philharmonic, Previn, Richard Strauss... on paper this sounds like a sure-win formula for a classic Strauss CD. Not quite so. The first glitch is Deutche Grammomphon's loathsome 4D technology - it captures the VPO's sound badly: woolly bass frequencies, bloated mid-range frequencies, and an attenuated top-end. Fortunately, it did not completely warp the sound of the Viennese strings - there are moments of sweet beauty to be savored, particularly in the Intermezzo and Capriccio extracts.

Unfortunately, the other injury to the VPO comes in the form of Previn. It seems he was in a sonnambulistic mood of sorts, and the entire performance suffers from an interminable haze of laziness --- rhythms are often slack and droopy, particularly in the "Rosenkavalier" piece and musical expression often turgid. Listen to Rudolf Kempe's recordings of the same music and see how much more lilt, affection and zip could be put into this music.

Tracks:

Bei Mannern, Welche Liebe Fuhlen - Elisabeth Schwarzkopf
Martern Aller Arten - Elisabeth Schwarzkopf
So Elend Und Treu - Maria Cebotari
Endlich Allein...Wie Fremd Und Tot - Hilde Konetzni
Es Gibt Ein Reich - Maria Cebotari
Kann Mich Auch An Ein Madel Erinnern - Hilde Konetzni
Quinquin, Er Soll Jetzt Geh'n - Hilde Konetzni
Herr Gott Im Himmel - Elisabeth Schwarzkopf
Abstieg In Die Cisterne - Ljuba Welitsch
Ah! Du Wolltest Mich Nicht - Ljuba Welitsch
Ah! Warum Hast Du Mich Nicht Angeseh'n - Ljuba Welitsch

Average customer rating:

COMPLETE IN ALL ITS GLORY.
A nice choice (maybe) for von Stade's fans
Worst "Rosenkavalier" on Disc
A Heart Felt Rosenkavalier

R. Strauss: Der Rosenkavalier

Manufacturer: Decca
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

Operettas | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

Der Rosenkavalier in Full Score
Wagner: Der Ring des Nibelungen

ASIN: B00008JL7X
Release Date: 2003-07-01

Tracks:

Einleitung - Introduction
Wie Du Warst! Wie Du Bist!
Marie Theres'! - Octavian!
Quinquin, Es Ist mein Mann!
Selbstverstandlich Empfangt
Hat Sie Schon Einmal Mit Einem Kavalier
Nein, Er Agiert Mir Gar Zu Gut!
I Komm' Glei
Di Rigori Armato Il Seno
Als Morgengabe
Mein Lieber Hippolyte
Da Geht Er Hin
Ach, Du Bist Ist Ein Sonderbar' Ding
Die Zeit, Die Ist Ein Sonderbar' Ding
Mein Schoner Schatz, Will Sie Sich Traurig Machen Mit Gewalt?
Ich Werd' Jetzt In Die Kirchen Geh'n
Ich Hab' Ihn Nicht Einmal Gekusst

Tracks:

Einleitung - Introduction: Ein Ernster Tag, Ein Grosser Tag!
In Dieser Feierlichen Stunde Der Prufung
Mir Ist Die Ehre Widerfahren
Ich Kenn' Ihn Schon Recht Wohl, Mon Cousin!
Jetzt Aber Kommt Mein Herr Zukunftiger
Eh Bien! Nun Plauder' Sie Uns Eins
Wird Kommen Uber Nacht
Wird Sie Das Mannsbild Da Heiraten, Ma Cousine?
Herr Baron Von Lerchenau!
Mord! Mord! Mein Blut!
Er Muss Mich Pardonieren
Is Gut! Is Gut! Ein Schluck Von Was Zu Trinken!
Da Lieg' Ich!
'Ohne Mich, Ohne Mich Jeder Tag Dir So Lang'

Tracks:

Einleitung - Introduction
Hab'n Euer Gnaden Noch Weit're Befehle?
Kein, Nein, Nein, Nein! I Trink' Kein Wein
Die Schone Musi!
Es Is Ja Eh All's Eins
Halt! Keiner Ruhrt Sich! Was Ist Los?
Zur Stelle! Was Wird Von Mir Gewunscht?
Sind Desto Eher Im Klaren. Ich Zahl', Ich Geh'!
Muss Jetzt Partout Zu Ihr!
Lass Er Nur Gut Sein Und Verschwind' Er
Leopold, Wir Geh'n!
Mein Gott, Es War Nicht Mehr Als Eine Farce
Marie Theres'! - (Hab' Mir's Gelobt, Ihn Lieb Zu Haben... )
Ist Ein Traum, Kann Nicht Wirklich Sein
Bonus Track 1

Customer Reviews:

COMPLETE IN ALL ITS GLORY........2007-05-12

I couldn't help but notice the scathing opinions posted here about this recording; I will hazard a guess that they were written by opera absolutists who shine a harsh, glaring light on every sound that issues forth from every singer in question. And while I find myself now in a similar mode, let me report that EVERY note sung by the principals in this performance is delivered with the utmost artistry and emotion; this cast really understands and projects everything in this complex and lengthy opera, presented here complete without cuts.

Top honors, though, go to Edo de Waart, who conducts this monumentally demanding score brilliantly, being totally in command of every measure. He observes every tempo marking, in addition to eliciting phenomenally detailed playing. The sound is clean, clear and rich, with a nice sense of spaciousness.

Two remarkable passages among many: 1.)the excitement near the beginning of Act 2 as Sophie and Marianne await the imminent arrival of the Rose Bearer, with the men's hearty cries of "Rofrano" growing gradually nearer---it's so glorious in its sound and pacing that I can't imagine it done better. Similarly, 2.)the orchestral scherzo-introduction to Act 3, as wickedly challenging as anything in the orchestral repertoire, is performed as flawlessly as humanly possible. Unfortunately, opera fanatics will barely take notice of such things. Here is a rare performance led by a conductor who can shape, delineate, propel and/or caress every phrase, resulting in a reading that positively radiates character in every measure.

True, Evelyn Lear is past her prime (as is the character she portrays), but she artfully disguises her limitations (using every trick in the book during the endless conversational passages in Act 1), and amply conveys the emotional world of the Marschallin. Von Stade is all one could ever ask for as Octavian, and Ruth Welting is a fine Sophie. Jules Bastin uses his somewhat colloquial sound---bawling, bellowing and often vibrato-less---in what can only be described as a supremely virtuostic realization of the role of Ochs. Yeah, a couple of the minor roles sound pretty hideous---but at least they are enthusiastcially sung.

Too bad this recording is overlooked. But I would advise anyone looking for an excellent and inexpensive (not to mention NOTE-COMPLETE) recording of this great work to look no further.

A nice choice (maybe) for von Stade's fans.......2007-02-27

The blistering one-star review below has the facts right but may be too harsh in his judgments. Von Stade has countless fans who might want to hear her at her freshest in 1976 as Octakivan, and there's a passing glimpse of Jose Carreras as the Italian tenor. De Waart conducts deliberately; he wins good playing from his Rotterdam orchestra and warm sonics from decca. But Bastin's voice is too lean for Baron Ochs, and his German pronunication is stilted, as is his attempt to act Viennese. Welting is adequate as Sophie. The real question as to listenability is Lear's fragile Marschallin, whose fading voice actualy helps develope a vulnerable, aging woman, to old for Strauss's conception but still touching.

In the end, there's too much wrong to make this even a good Rosenkavalier, but the scenes between Von STade and Lear have their moments.

Worst "Rosenkavalier" on Disc.......2004-07-05

Von Stade is probably the best Octavian among the fine sopranos who have recorded this role. Unfortunately, Evelyn Lear is so far past her prime that she may qualify as the worst of the Marschallins, and Ruth Welting is outclassed by every recorded Sophie (yes, I've heard them all). DeWaart's tempi are sometimes laborious, seemingly to accomodate Lear's vocal problems. The supporting cast is seldom more than adequate; the Marianne is a horror. Bastin's excellent Ochs gets rather lost in the noise. Von Karajan (Schwarzkopf) is still the best, with Solti (Crespin) a very close second. For the budget conscious, the live recording with Janowitz, Minton, and the superb Lucia Popp on Opera d'oro beats this recording by miles.

A Heart Felt Rosenkavalier.......2004-02-06

While hardly the last word, there is much to enjoy in this "Rosenkavalier", starting with the radiant Octavian of the great Frederica von Stade.

There is also much to admire in the somewhat tragic Marschallin of Evelyn Lear. Obviously this artist has put much thought into her interpretation and if her voice is a bit past it's best days here, she uses it to her advantage and to the advantage of the role. Her characterization gently tugs at one's heart as she comes to realize she is losing what she knows will be her last great love. This is a more European take on the role than most American audiences are used to. Not a star turn, but more a gentle farewell.

I can't help but comment that, in my humble opinion, Evelyn Lear is one of the great singing actresses of her generation, and this recording, finally, does her justice.

Ruth Welting, another singer not as well known as she should be, rounds out the trio of women, and is sparkling as Sophie.

Jules Bastin actually sings the part of Baron Ochs, an increasing rarity these days.

Edo de Warte conducts well.

All in all, this is a fine performance, enhanced by the security of all the principals in roles well suited to each of them. Yes, there are probably better Rosenkavaliers out there. But you'll be hard pressed to find one performed with such obvious love of the music.

Customer Reviews:

A justly famous first-generation "Der Rosenkavalier"........2003-01-20

As one who heard two of the principals in this famous old recording (Schumann and Olszewska at the end of their careers), I ought perhaps to lead off a discussion and review of this latest of its reissues.

By 1933 it was becoming clear that this most delectable and brilliantly scripted opera was likely to retain a permanent place in the international repertory. EMI's leading producer, Fred Gaisberg, had attended performances in London and Vienna given by a notable cast of singers usually conducted by Bruno Walter, and he commenced planning for a Vienna recording. As with most opera recording projects, however, there needed to be compromises. Firstly, the opera was too lengthy to record and issue on 78s. Secondly, the idea of having Strauss himself conduct it had to be abandoned because he demanded too high a fee. Lehmann's recording contracts allowed her to be included, but neither Bruno Walter as conductor nor Delia Reinhardt as the preferred Octavian could be engaged. Ultimately the project went ahead and an abridged version of the opera, reduced to about half its total duration, was recorded and released on thirteen 78s.

In 1951, on BBC radio, I heard Elisabeth Schumann play the recording of the final duet in this opera. She introduced it as follows: "I must let you into a little secret concerning this record. When we were making these records in Vienna Lotte Lehmann forgot two notes she had to sing. You may recall that just before the final duet Sophie's father remarks to the Marschallin how amazing young people are and the Marschallin replies, 'Ja, ja'. With the trio over, Lotte Lehmann thought her part in the recording was over and retired to her country house near Vienna. There were too many complications involved in getting Miss Lehmann back and so I sang the two words 'Ja, ja'. You must admit I did it very well." Subsequent research has revealed that the final duet was in fact the first item of the project to be recorded, on the first morning of the schedule, and that Lotte Lehmann had not yet arrived. Nevertheless Schumann did substitute for her great friend and colleague and the "take" was approved immediately.

Seventy years later, this splendid Mark Obert-Thorn reissue allows this recording to be heard with greater ease and clarity than ever before. Even so, listeners must bear in mind that recording techniques of the 1930s were barely adequate for capturing the richness of the orchestral score or the intricate vocal textures of the many trios and duets. Singing styles, moreover, differ from today's: both Richard Mayr and Elisabeth Schumann lay the portamento on very thickly. It is, nevertheless, a justly famous cast and one that became closely associated with the opera almost (but not quite) from the time of its 1911 premiere.

Lehmann's Marschallin meets all the requirements of the part. Womanly, wise, accepting of disappointment and generous in her nobility, this Marschallin commands attention throughout. Having exactly the kind of silvery voice and enchanting personality that match the role of Sophie, Elisabeth Schumann makes Sophie a more dominant character than is often the case. How well she depicts girlishness after acknowledging the presentation of the silver rose ("I am looking forward to being married? Are you looking forward too?", and how well she ticks off Baron Ochs in the final act ( "I've done and finished with you")! Happily, almost all Sophie's music was retained in this abridged recording. Maria Olszewska's Octavian is perhaps more impressive for purely vocal richness than for character insights. Richard Mayr, Viennese born and bred, created the part of Baron Ochs at the opera's Vienna premiere in 1911 and remained its most celebrated exponent until the time of his death not long after this recording was made. Much of his part of the opera is omitted in this recording but enough remains to show his fluency in the Viennese accent and some highly musical clowning.

Tracks:

Einleitung
Wie Du Warst Wie Du Bist
Der Feldmarschall Sizt Im Krowatischen Wald
Selbstverstandlich Empfangt Mich Ihro Gnaden
Marcht Das Einen Lahmen Esel Aus Mir
I Komm Glei Drei Arme Adelige Waisen
Di Rigori Armato Il Seno
Mein Lieber Hippylyte
Da Geht Er Hin Der Aufgeblasene Schlechte Kerl
Ach Du Bist Wieder Da
Die Zeit Die Ist Ein Sonderbar Ding
Einleitung
Ein Ernster Tag Ein Grober Tag
In Dieser Feierlichen Stunde
Mir Ist Die Ehre Widerfahren
Ich Kenn' Ihn Schon Recht Wohl
Jetzt Aber Kommt Mein Herr Zukunftiger
Hab' Nichts Dawider
Mit Ihren Augen Voll Tranen
Herr Baron Von Lerchenau
Da Lieg Ich Was Einem Kavalier Nit All's Passieren Kann
Ohne Mich Ohne Mich Jeder Tag Dir So Bang
Einleitung Und Pantomime
Hab'n Euer Gnaden Noch Weitre Befehle
Nein Nein Nein Nein I Trink Kein Wein
Wie Die Stund' Hingeht
Halt Keiner Ruhrt Sich Was Ist Los
Ihre Hochfurstliche Gnaden Die Frau Furstin Feldmarschall
Ist Halt Vorbei
Mein Gott Es War Nicht Mehr Als Eine Farce
Heut Oder Morgen Oder Den Ubernacsten Tag
Marie There's Hab' Mir's Gelobt
Ist Ein Traum Kann Nicht Wirklich Sein

Customer Reviews:

At Last!.......2002-08-24

I've been waiting many years for this "Rosenkavalier" to appear on CD; it has long been my favorite despite some imperfections.

When this recording first appeared in the late 1950's, it was not greeted with deafening enthusiasm. First of all, it came hard on the heels of two classic sets -- Kleiber's 1955 and Karajan's 1957 releases. Second, it offered an unglamorous Marschallin plus a distictly un-Viennese flavor (most of the musicians are Dresden-based, though the main singers are more redolent of Munich), nor did it field a supporting cast peppered with star turns and clever references to Straussian performance history. This seems to be the magic recipe, for Decca followed it again to the letter and released another classic headed by Solti in 1970.

It seems a shame that a "standard recipe" would overshadow Bohm's excellent offering when it gives so much pleasure. Bohm's incandescent, bouyant conducting of the superb Dresden Staatskapelle imbues the score with plenty of 'Schwung' and zero 'Schmalz', exactly right. His cast is also brilliant. Marianne Schech is not the steadiest or most sensuous of Marschallin's, but she is often a touching one who makes much of the text, especially at the end of Act 1. Here, she reveals an inner sadness, yet there is not a trace of self-asorption, an indulgence that ruins many an otherwise fine Marschallin. In Act 3 she is womanhood itself. Her tone may require some patience, but the patience will pay off.

The remainder of the cast needs no special defense: Irmgard Seefried is arguably the loveliest of Octavian's, and surely the most impulsive; Rita Streich wins us over with a delightful, impeccably sung Sophie; Fisher-Dieskau shatters convention by making Faninal a dashing figure, really singing the part without sacrificing any of its theatrical impact; and Kurt Bohme's Ochs, so much admired by Strauss himself, proves one of the definitive portayals: his big gruff voice exhibits a remarkable agility in both the tough musical demands and rich comic inflections required of the part. The capable supporting cast includes Gerhard Unger and Sieglinde Wagner, a superb pair of plotters, and Rudolf Francl, an adequate Italian Singer. The score is presented note-for-note complete.

Tracks:

Erster Akt: Prld - Wiener Staatsopernchor/Erich Kleiber
Erster Akt: Wie Du Warst! Wie Du Bist! - Sena Jurinac
Erster Akt: Marie Theres! - Octavian! - Sena Jurinac/Maria Reining
Erster Akt: Quinquin, Es Ist Mein Mann! - Maria Reining
Erster Akt: Selbstverstandlich Empfangt Mich Ihro Gnaden - Ludwig Weber
Erster Akt: Hat Sie Schon Einmal Mit Einem Kavalier - Ludwig Weber
Erster Akt: Nein, Er Agiert Mir Gar Zu Gut! - Maria Reining
Erster Akt: I Komm Glei! - Sena Jurinac
Erster Akt: Di Rigori Armato Il Seno - Anton Dermota
Erster Akt: Als Morgengabe - Ganz Separatim Jedoch - Ludwig Weber
Erster Akt: Mein Lieber Hippolyte - Maria Reining
Erster Akt: Da Geht Er Hin - Maria Reining
Erster Akt: Ach, Du Bist Wieder Da! - Maria Reining
Erster Akt: Die Zeit, Die Ist Ein Sonderbar Ding - Maria Reining
Erster Akt: Ich Hab Ihn Nicht Einmal Gekusst - Maria Reining

Tracks:

Zweiter Akt: Ein Ernster Tag, Ein Grosser Tag! - Alfred Poell
Zweiter Akt: In Dieser Feierlichen Stunde Der Prufung - Hilde Gueden
Zweiter Akt: Mir Ist Die Ehre Widerfahren - Sena Jurinac
Zweiter Akt: Ich Kenn Ihn Schon Recht Wohl, Mon Cousin! - Hilde Gueden
Zweiter Akt: Jetzt Aber Kommt Mein Herr Zukunftiger - Hilde Gueden
Zweiter Akt: Eh Bien! Nun Plauder Sie Uns Eins - Ludwig Weber
Zweiter Akt: Wird Sie Das Mannsbild Da Heiraten, Ma Cousine? - Sena Jurinac
Zweiter Akt: Herr Baron Von Lerchenau! - Valzacchi/Annina
Zweiter Akt: Mord! Mord! Mein Blut! Zu Hilfe! - Ludwig Weber
Zweiter Akt: Herr Schwiegersohn! Wie Ist Ihm Denn? - Alfred Poell
Zweiter Akt: Blamage! Mir Auseinander Meine Eh! - Alfred Poell
Zweiter Akt: Ist Gut! Ist Gut! Ein Schluck Von Was Zum Trinken! - Ludwig Weber
Zweiter Akt: Da Lieg Ich! - Ludwig Weber
Zweiter Akt: 'Ohne Mich, Ohne Mich Jeder Tag Dir So Bang' - Ludwig Weber

Tracks:

Dritter Akt: Prld And Pantomime - VPO/Erich Kleiber
Dritter Akt: Habn Euer Gnaden Noch Weitre Befehle? - Wiener Staatsopernchor/Erich Kleiber
Dritter Akt: Nein, Nein, Nein, Nein! I Trink Ka Wein - Sena Jurinac
Dritter Akt: Es Is Ja Eh Alls Ans - Sena Jurinac
Dritter Akt: Da Und Da Und Da Und Da! - Ludwig Weber
Dritter Akt: Halt! Keiner Ruhrt Sich! - Kommissarius
Dritter Akt: Zur Stelle! Was Wird Von Mir Gewunscht? - Alfred Poell
Dritter Akt: Sind Desto Eher Im Klaren - Ludwig Weber
Dritter Akt: Bin Gluklich Uber Massen - Ludwig Weber
Dritter Akt: Lass Er Nur Gut Sein - Maria Reining
Dritter Akt: Leupold, Wir Gehen! - Ludwig Weber
Dritter Akt: Mein Gott, Es War Nicht Mehr Als Eine Farce - Hilde Gueden
Dritter Akt: Marie Theres! - Hab Mirs Gelobt - Sena Jurinac/Maria Reining/Hilde Gueden
Dritter Akt: Ist Ein Traum, Kann Nicht Wirklich Sein - Hilde Gueden

Customer Reviews:

Marvelous Rosenkavalier...a truly Viennese Feast!.......2007-06-25

Of all the recordings of Rosenkavalier on the market, this is perhaps the truest to Strauss' intentions. Notwithstanding the fact that it has no cuts, the spirit of Strauss' mastery of Hoffmansthal-like dialogue is eminent in this recording. It also stars great singers like Maria Reining, Sena Jurinac, Hilde Gueden, Ludwig Weber, and Anton Dermota, singers who are true to the Viennese tradition and periodicity of this masterpiece. It must be said though, that the greatest contributions stems from the conductor and the orchestra. The Vienna Philharmonic is the only orchestra in the world I know that can play this piece with their eyes closed. Never mind the ravishing Berliners or the crystalline Dresdeners. Never mind the Concertgebouw or the Bavarian Radio Symphony. In the music of Strauss and Mozart, the Vienna Philharmonic has no rival, and how amazing they truly are in Der Rosenkavalier. With that said, Erich Kleiber leads a most authentic and spiritful account of the score. It has a lightness and a beauty that you can describe as an Imperial Torte, a Sachertorte, Kastanientorte, or a Mozartkügel with lots of Schlagober (Viennese for whipped cream) on the side. It's elegant. It's light, comedic, yet understated. It also has pathos and energy. If you're looking for the Viennese echt sound in a recording of the opera, this is the recording you should set your sights on.

The cast is magnificent too. Maria Reining may be an older Marschallin, but listen to how she phrases the lines of her character. This is truly the mark of an aristocratic woman. Her Act I monologue is sung with pathos without the artificiality that mars Schwarzkopf's performance. Her Marschallin is sung with a reactive, conversational precision that makes the character all the more palpable. I think she successfully brings out the nobility and wisdom in a woman who most sopranos would interpret as more proud than human. Sena Jurinac sings the title role, and what a great change of pace it is to hear a soprano in a role that was written for this role. Jurinac phrases Octavian's lines with his two lovers word for word and with feeling. I would say that she betters Christa Ludwig in this role due to the natural lift of her voice. It is boyish, but not immature. A very handsome portrayal of Count Rofrano. Sophie is taken by the cute-sounding Hilde Gueden. I think her ravishing voice makes this role one of the best I've heard with Helen Donath, Annaliese Rothenberger, and Lucia Popp. A work of a true artist indeed. Ludwig Weber sings Ochs accurately and with humor, avoiding all the buffoonery that makes this character a laughing stock rather than a despicable baron. Anton Dermota is luxuriously cast as the Italian tenor. I will always prefer Pavarotti, but his tenor is good as it is.

To sum up, this is a great recording of a perennial Strauss favorite. I still love the Solti cast for the great pacing and the spirited and well-assembled cast, but this is a great reference recording for anyone who wants to learn more about Strauss' most beautiful masterpiece.

A beloved classic showing its age.......2005-10-01

This was the first Rosenkavalier I ever heard, some forty years ago, and I must have gone to the library ten times to listen through earphones to it. But on reacquaintance I must say that the mono sound is more than a bit edgy and shallow. When reviewers say that Maria Reining is past her prime, I think it should be clarified; her voice is mature but still beautiful--she's a Marschallin well into her forties. Of course, if you love something, you love it as a whole. On the whole I still love Kleiber's conducting, which is so clear and unsentimental (insofar as that's possible amidst so much strawberries and cream), and even more I love the touching reminder of old vienna before the horrors of WW II descended and destroyed a golden illusion.

GOLDEN AGE RECORDING OF ONE OF STRAUSS' MASTERPIECES!.......2005-04-12

After the heavy and extroverted music of Salome and Elektra, Richard Strauss, whom I consider one of the five greatest Opera composers ever, turned to a more delicate and viennese kind of music. From all the masterpieces with such characteristics he composed, Der Rosenkavalier is definitely the most perfect example of Strauss' talent. It has a wonderful, involving music, altogether with some incredibly tangible characters and profound drama. It alternates harmoniously moments of humor based on the Viennese Operettas and moments of pure reflection and depth. But, above all, this music is all about vividness, sincerity. The singers must not only sing beautifully. They also need to live the characters they're performing.
Here we have a Golden Age recording of Der Rosenkavalier, and it offers everything this opera requires to charm the listener. Certainly Maria Reining isn't in her best prime anymore, and in fact her voice doesn't sound as velvety as Schwarzkopf's or as youthful as Della Casa's. On the other hand, it's impossible to resist to the creamy and sincere quality of her mature voice, to the controlled and beautiful use of portamento and to the noblety and refinement of her interpretation. Maria Reining, who had had a successful career since the early 30's, takes us back to the elegant tradition of singing from the times Strauss was still composing some of his most famous operas.
Sena Jurinac sings an elegant and lively Oktavian. While her voice isn't as masculine as one would have from heavier mezzos, it's velvety and versatile and her characterization of the young gentleman is one of the most credible ever recorded. Hilde Gueden, who's maybe the greatest Straussian lyric coloratura soprano, is a flirtatious and charming Sophie. Her interpretations are always lively and involved in a dream-like Viennese atmosphere. Besides, her voice is ideal to this role. Its creamy and rich sound, girlishness and perfect technique are simply irresistible. In overall, each one of those legendary sopranos managed to understand the real meaning of those deep characters. The result is that, as we listen to this recording, it seems as we get to know real people's feelings in real situations (and that's exciting!). Other great performances are Ludwig Weber's caricatural Baron Ochs, Anton Dermota's flawlessly sung Italian Tenor and Alfred Poell's adequately aristocratic Faninal.
So why should you buy this recording? Surely there are other versions which are more hyped, but, among all the other famous recordings, the only one that can rivalize with this one is Schwarzkopf's classic recording conducted by Karajan (EMI). However, even that recording couldn't inspire the vivid emotion and pure excitement the way this legendary version did. Renée Fleming sings one of the most stunning Marschallins ever, but unfortunately she didn't record any complete studio recording. The sound is quite good even by current standards (and it was recorded in 1954!) and the whole atmosphere is amazing. Don't lose the chance of listening to truly legendary Straussian singing!

One of the great recordings!!!!.......2001-12-21

This is one of the greatest operatic recordings ever made. It captures a wonderful Vienniese spirit missing from all other recordings. Maria Reining as the Marschallin is past her best (to make up for it get the Lehmann excerpts) but still knowng and charming. The rest of the cast is unbeatable; Sena Jurinac, Hilde Gueden in their young primes and Ludwig Weber is a black voiced aristocratic Ochs. Smaller roles are filled with regulars from the Vienna State Opera. Erich Kleiber's conducting is exactly right; the right amounts of sentiment and spirit. The mono sound is warm and full. If you ever thought Rosenkavalier could be boring, buy this set. The time flies by and you'll feel great afterwards.

A Classic Recording.......2001-02-24

If you want to listen to an "authentic" Viennese Rosenkavalier, this is the one. Erich Kleiber sets the model of how this piece should be conducted and the Vienna Philharmonic transparent sound is everything this music calls for. The recording is mono, but natural and very clear. The cast couldn't be more natural in this repertoire. Although Maria Reining is accused of being past her best days (in her best days, she was unbeatable!), she is still the most aristocratic Marschallin. She avoids sentimentality and goes for a witty, sophisticated and nonchalant performance. Her creamy soprano is still the instrument Strauss himself was so fond of. Sena Jurinac's Octavian is a classical impersonation. Her voice is silvery as the rose she is going to deliver to Sophie, but still retains an inimitable warmth. Everything she does exhales musicianship and she proves here why she was a favourite at the Vienna State Opera. Ludwig Weber's dark bass fulfills everything Strauss asked him to do in a natural Viennese accent. Only Hilde Güden is a bit heavy handed about her Sophie, but she doesn't spoil the fun and there is still Anton Dermota's Italian Tenor!

R.Strauss: Burlesque/Waltz from Der Rosenkavalier

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R.Strauss: Burlesque/Waltz from Der Rosenkavalier
Bromstedt & Leipzig Gewandhaus
Manufacturer: Universal
ProductGroup: Music
Binding: Audio CD

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ASIN: B000793AOW
Release Date: 2005-07-04

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