Maria Rita [Enhanced]

Zemlinsky: Der Zwerg
Auber: La Muette de Portici
Gluck - Armide / Delunsch, Workman, Naouri, Podles, Beuron, Polegato, Kozená, Les Musiciens du Louvre, Minkowski
Weber: Oberon
Charpentier - Medee / Hunt, Padmore, Deletre, Zanetti, Salzmann, Les Arts Florissants, Christie

ASIN: B0000035MN
Release Date: 1994-11-29

Tracks:

Euryanthe: Ouverture
Euryanthe: Akt I, Nr. 1, Introduktion: Dem Frieden Heil! (Chor)
Euryanthe: Akt I, Nr. 1, Ernster Reigen
Euryanthe: Akt I, Nr. 1, Rezitative: Mein Adolar! So fern dem heitern Reigen? (Konig, Adolar, Lysiart)
Euryanthe: Akt I, Nr. 2, Romanze: Unter blueh'nden Mandelbaeumen (Adolar)
Euryanthe: Akt I, Nr. 3, Chor: Heil Euryanth', der Lieblichsten der Schoenen! -Rezitative: Ich trag' es nicht! (Lysiart, Adolar, Konig)
Euryanthe: Akt I, Nr. 4, Terzett mit Chor: Wohlan! Du kennst mein herrlich Eigentum (Lysiart, Adolar, Konig, Mannerchor)
Euryanthe: Akt I, Nr. 5, Kavatine: Gloecklein im Tale (Euryanthe)
Euryanthe: Akt I, Nr. 5, Rezitative: So einsam bangend find' ich dich? (Eglantine, Euryanthe)
Euryanthe: Akt I, Nr. 6, Arie: O mein Leid ist unermessen (Eglantine)
Euryanthe: Akt I, Nr. 6, Rezitative: Freundin! Geliebte! An meine Brust (Euryanthe, Eglantine)
Euryanthe: Akt I, Nr. 7 Duett: Unter ist mein Stern gegangen (Euryanthe, Eglantine)
Euryanthe: Akt I, Nr. 8, Rezitative und Arie: Betoerte, die an meine Liebe glaubt - Er konnte mich um sie verschmaehn! (Eglantine)
Euryanthe: Akt I, Nr. 9, Finale: Jubeltoene, Heldensoehne (Chor, Euryanthe, Eglantine, Lysiart)
Euryanthe: Akt I, Nr. 9, Finale: Froehliche Klaenge, Taenze, Gesaenge (Euryanthe, Chor, Eglantine, Rudolf, Lysiart)

Tracks:

Euryanthe: Akt II, Nr. 10, Szene und Arie: Wo berg' ich mich? - Schweigt, glueh'nden Sehnens wilde Triebe (Lysiart)
Euryanthe: Akt II, Nr. 11, Rezitative und Duett: Der Gruft ertronnen, atm' ich wieder (Eglantine, Lysiart)
Euryanthe: Akt II, Nr. 11, Rezitative und Duett: Komm denn, unser Leid zu raechen! (Eglantine, Lysiart)
Euryanthe: Akt II, Nr. 12, Arie: Wehen mir Luefte Ruh' (Adolar)
Euryanthe: Akt II, Nr. 13, Duett: Hin nimm die Seele mein (Euryanthe, Adolar)
Euryanthe: Akt II, Nr. 14, Finale: Leuchtend fuellt die Koenigshallen (Mannerchor, Konig, Euryanthe, Lysiart, Adolar)
Euryanthe: Akt II, Nr. 14, Finale: Lass mich empor zum Lichte wallen (Euryanthe, Konig, Lysiart, Adolar, Mannerchor)
Euryanthe: Akt II, Nr. 14, Finale: Verleih mein Recht mir (Lysiart, Konig, Adolar, Euryanthe, Mannerchor)

Tracks:

Euryanthe: Akt III, Nr. 15, Rezitative und Duett: Hier weilest du? Hier darf ich ruh'n? (Euryanthe, Adolar)
Euryanthe: Akt III, Nr. 15, Rezitative und Duett: Wie liebt ich dich (Adolar, Euryanthe)
Euryanthe: Akt III, Nr. 16, Arioso und Szene: Schirmende Engelschar (Euryanthe, Adolar)
Euryanthe: Akt III, Nr. 17, Szene und Kavatine: So bin ich nun verlassen
Euryanthe: Akt III, Nr. 17, Szene und Kavatine: Hier dicht am Quell (Euryanthe)
Euryanthe: Akt III, Nr. 18, Jagerchor: Die Tale dampfen, die Hoehen glueh'n (Mannerchor) - Rezitative: O seht! Die Schlang' erlegt 1vonstarker Hand! (Konig, Mannerchor)
Euryanthe: Akt III, Nr. 19, Duett mit Chor: Lasst mich hier in Ruh' erblassen (Euryanthe, Konig, Mannerchor)
Euryanthe: Akt III, Nr. 20, Arie mit Chor: Zu ihm! O weilet nicht! (Euryanthe, Mannerchor)
Euryanthe: Akt III, Nr. 21, Szene mit Chor: Pas de cinq (Ballettmusik)
Euryanthe: Akt III, Nr. 21, Szene mit Chor: Der Mai bringt frische Rosen dar (Adolar, Chor)
Euryanthe: Akt III, Nr. 22, Solo mit Chor: Vernichte Kuehn das Werk der Tuecke (Adolar, Chor)
Euryanthe: Akt III, Nr. 23, Hochzeitsmarsch, Szene und Chor: Das Frevlerpaar! Weh diesem Bunde! (Adolar, Eglantine, Lysiart, Chor)
Euryanthe: Akt III, Nr. 24 Duett mit Chor: Trotze nicht! Vermessener! (Lysiart, Adolar, Chor)
Euryanthe: Akt III, Nr. 25, Finale: Lasst ruh'n das Schwert! (Konig, Adolar, Eglantine, Lysiart, Euryanthe, Chor)
Euryanthe: Akt III, Nr. 25, Duett mit Chor: Hin nimm die Seele mein (Euryanthe, Adolar, Chor)

Customer Reviews:

BROADFLOWER.......2007-04-27

That's the meaning of `Euryanthe', as of course you knew. It is Weber's most advanced effort in the field of opera and it is a truly lovely thing, a flower that opens out to us from its very opening bars and never fades throughout nearly 3 hours of music.

This is a worthy performance too, if not quite the equal of Kleiber's great Freischuetz. The original recording was done in 1974 in what was then East Germany. Digital remastering has been an unqualified benefit in this instance, with none of the characteristic `edge' that the process often creates around the sound. I found the tone of the woodwind early on to be uncommonly mellow and beautiful, and when the brass had its turn I greatly liked the sound of that too. The violin tone was rather more average, without the bloom that I would have preferred ideally. However that may not be something I should attribute to the recording, as the sound of the solo voices is slightly variable as well. There is a slight sense of strain about Rita Hunter's voice in her great `jealousy' aria near the end of act 1 for instance, whereas there is never anything of the kind when it comes to Jessye Norman. Gedda as Adolar always sounds fine but not quite as can really sound on his day, as for instance in his Verdi requiem with Giulini, whereas Tom Krause as Lysiart (and for that matter Siegfried Vogel as the King) always sound magnificent. A more probable conclusion is that although all the singing is good some of it is better than other some. In particular, all the cast are slightly overshadowed by the voice of Jessye Norman as Euryanthe, a voice that in its glorious prime was surely one of the greatest in the entire 20th century.

They sing well in solos, they sing well in duets, and the chorus completes the listener's pleasure by performing superbly as well - how much better Weber's choral writing is than Wagner's, I found myself thinking. All is well at the dramatic level too. Janowski strikes me as having this score in his bones, all the way from his flexible and expressive handling of the overture through the beautiful extended preludes to the later acts to the fine excited and exciting ending. He draws great but very natural and unforced eloquence from his players, doing justice to the composer's superb orchestration, and I had the feeling throughout that the singers were comfortable with him. There was not a single tempo that I found inappropriate, and this fine group of soloists is given the opportunity to shine in the great string of jewels that Weber has provided for them. Stylistically it seemed right to me as well. Power is sometimes called for of course, but Weber does not require singers to sing to split their lungs as Verdi so often does, and these singers, great Verdian artists, know the difference. Whether in the more melodramatic sequences or in the gentler and more reflective parts they all remember the great rule in this great piece - first, last and always stay musical and lyrical.

I have no real criticism to offer regarding the production and editing. The text is sensibly given in German and English only, although for some reason the liner essay appears in French too. The English translation is anonymous, which is slightly unfair to the translator as it is much better English than we often find in such cases. There is a summary of the plot, but I had to read the entire text before I could understand the summary. Whatever Helmine von Chezy's shortcomings as a poet at least her plot-line is a model of clarity.

As I said, not quite the equal of Kleiber's Freischuetz, but that would have been a tall order. It's easily good enough for me. If there are other versions around that surpass this one in certain respects, they would still have to overcome the near-insuperable challenge of finding a Euryanthe to equal Jessye Norman.

For Gedda, Hunter & Weber.......2003-01-18

Buy it for gedda,Hunter and of course WEBER-
What a beautiful music..
Perfect recording..
You'll need the libretto to understand miss Norman

Average customer rating:

Great ensemble singing
Una grabación suntuosa
Beautiful Mozart and Stader
It's not all "Traurigkeit", but certainly not "Welche Wonne", either!
A sumptuous "Entfuhrung" that belies its age.

Mozart: Die Entführung aus dem Serail

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Mozart: Die Zauberflote

ASIN: B000006144
Release Date: 1998-04-14

Tracks:

Ouverture
No.1 Arie: 'Hier soll ich dich denn sehen'
No.2 Lied und Duett: Dialog: 'Wer ist denn dieser Alte...?' -- 'Wer ein Liebchen hat gefunden'
Dialog: 'Vielleicht lass ich mir noch so ein Schurken'
No. 3 Arie: 'Solche hergelaufne Laffen'
Dialog: 'Geh nur, verwunschter Aufpasser!'
No.4 Rezitativ und Arie: 'Konstanze, dich wiederzusehen, dich! - O wie angstlich, o wie feurig'
Dialog: 'Versteckt euch, Herr!' - 'Singt dem grossen Bassa Lieder'
Dialog: 'Immer noch traurig, geliebte Konstanze?'
No.6 Arie: 'Ach ich liebte, war so glucklich'
Dialog: 'Ihr Schmerz, ihre Standhaftigkeit'
No.7 Terzett: 'Marsch! Trollt wuch fort!'
No.8 Arie: 'Durch Zartlichkeit und Schmeicheln'
Dialog: 'Ach, seht doch mal'
No.9 Duett: 'Ich gehe, doch rate ich dir'
No.10 Rezitativ und Arie: 'Welcher Kummer herrrscht in meiner Seele' -- 'Traurigkeit ward mir zum Lose'
Dialog: 'Nun, Konstanze, der Tag ist bald verstrichen'
No.11 Arie: 'Martem aller Arten'

Tracks:

Dialog: 'Kein Bassa, keine Konstanze mehr da?'
No.12 Arie: 'Welche Wonne, welche Lust'
No.13 Arie: 'Frisch zum Kampfe! Frisch zum Streite!'
Dialog: 'Hm, geht's hier so lustig zu?'
No.14 Duett: 'Vivat Bacchus! Bacchus lebe!'
Dialog: 'Hm, das ist ein Wein'
No.15 Arie: 'Wenn der Freude Tranen fliessen'
No.16 Quartett: 'Ach! Belmonte! Ach, mein Leben!'
Dialog: 'So, nun aber schnell, Blondchen!'
No.17 Arie: 'Ich baue ganz auf deine Starke'
Dialog: 'So, gnadiger Herr, jetzt schnell'
Dialog: 'Das Fenster geht auf, Herr!'
No.19 Arie: 'Oh, wie will ich triumphieren'
Dialog: 'Herr, verzeih, dass ich so hereinbreche'
No.20 Rezitativ und Duett: 'Welch ein Geschick!' -- 'Ha, du solltest fur mich sterben!'
Dialog: 'Steht auf! Der Bassa Kommt!'
No.21a Vaudeville: 'Nie werd' ich deine Huld verkennen'
No.21b Chor der Janitscharen: 'Bassa Selim lebe lange'
Exsultate, Jubilate: Aria: 'Exsultate, jubilate' (Allegro)
Exsultate, Jubilate: Recitativo: 'Fulget amica dies'
Exsultate, Jubilate: Aria: 'Tu virginum corona' (Andante)
Exsultate, Jubilate: 'Alleluja' (Molto allegro)

Customer Reviews:

Great ensemble singing.......2007-04-16

The best thing about this recording, which none of the reviewers so far have mentioned, is the quality of the ensemble singing. Under Fricsay's conducting the singers are sensitive to each other, reactive to each other, and supportive of each other, musically and dramatically, in a way I've yet to hear on any other recording.

Special treats include the duet "Ich gehe, doch rate ich dir" between Blonde (Rita Streich) and Osmin (power-bass Josef Greindl), also the quartet "Ach, Belmonte! Ach, mein Leben!", and the duet at the end between Belmonte (Ernst Haeflinger) and Constanze (Maria Stader). The singers are all fantastic but Fricsay really deserves the credit.

Una grabación suntuosa.......2007-01-10

Esta grabación del Rapto del Serrallo es mítica y muy bien conocida por todos los amantes de la opera y los mozartianos en especial. La dirección de Fricsay es absolutamente fantástica. Lo que se escucha en esta grabación, desde el punto de vista orquestal, es una absoluta delicia de comienzo a fin. El control férreo y perfecto del ritmo, el sorpendente control del rubato y el refinamiento son de absoluta antología. Las grabaciones de las opera de Mozart, por lo demás, son muy famosas, siendo consideradas por muchos especialistas, como un verdadero monumento musical. El cast es excelente también, Maria Stader puede considerarse una de las mejores interpretes de este rol. Su coloratura es incisiva, penetrante, dramática y llena de significado. La densidad tímbrica y lirismo, es dificil de encontrar en otras intérpretes. Ernest Häfliger, fue el tenor favorito de Fricsay y está presente en todas sus grabaciones. Es cierto que Fritz Wunderlich, Leopold Simoneau y Anton Dermota tenian voces mas llamativas, y sus interpretaciones son quizas mas famosas, pero la interpretación de Háfliger es una delicia también. Su estilo es muy espiritual, musical y delicado (hay que recordar que fue alumno del gran Julius Patzak), lo cual es de agradecer en una opera de Mozart. Josef Greindl es el bajo perfecto para el rol de Osmin. Voz potente e impetuosa, de color oscuro y tenebrosa, fraseo inteligente e incisivo. Su Osmin muestra el justo balance entre canto serio y bufo de forma admirable. Rita Streich es una verdadera maravilla como Blonde. Su voz cristalina, penetrante y su estilo de gran naturalidad y musicalidad la hacen imbatible en este rol. Sus arias están cantadas de manera ideal, tanto por voz como por estilo interpretativo. Como consecuencia de todo lo dicho, puede decirse que es una versión plenamente recomendable y probablemente una de las mejores de la discografía de esta obra. De todos modos, habría que conocer también las grabaciones de Beecham, Krips, Jochum y Bóhm, que son igualmente magníficas.

Beautiful Mozart and Stader.......2006-06-20

OK it is in Mono. But once you have listened to this CD you will not want to go back to other versions of this Opera.
Stader is fantastic. Performance of all singers and Ferenc Friscay are exemplary.

It's not all "Traurigkeit", but certainly not "Welche Wonne", either!.......2005-12-18

There are some lovely moments in this recording, but it seems to me that I must have heard a different cast to those who give such glowing five-star reviews! As an exponent myself of the role of Konstanze, I admit I look mostly at the soprano singing that role in any recording of this Singspiel, and I cannot admire Maria Stader's performance to any great degree. Indeed, so disenchanted am I by her singing that I now completely avoid recordings featuring her. Let me explain why... I do not find that magical marriage of sweetness and fire, of steel and passion in her voice. The tone itself does not appeal to me - it seems constricted and a little swoopy (not much, but she has a way of entering a note with that very dated dip typical of her singing)... Her voice isn't quite rounded (the throat does not seem open enough), and it lacks shimmer to me. I was unimpressed by all three arias for Konstanze in this recording, although I do think Stader did a better job in the Konstanze/Belmonte duet.

Rita Streich is absolutely delightful, however. She may well be the best Blonde on record. That wonderful silvery shimmer! That absolute ease in the upper register! Her lovely intimate sense of fun! Certainly, if I were deciding upon the best recording based upon the BLONDE, this recording would be right there... but I don't. I admit it freely.

It was Ernst Haefliger who sang the Belmonte on this recording. I've not actually heard him before, and while it's a pleasant voice, it did not convey all the ease and sweetness and passion, within an impeccable sense of Mozartian style, that I'd like for the Belmonte character. I adore Fritz Wunderlich in this challenging role, and also Richard Croft (who performed the role in a mostly shockingly-miscast performance conducted by Östman, and put to utter shame the atrocious Konstanze in that production). Ernst Haefliger is not of that calibre. It's a good voice, but his performance sounds "careful" rather than impassioned. Good heavens, this is a great role! What an opportunity for a Mozartian tenor to turn to fire! It IS possible (and dare I say, necessary?) to sing Mozart with emotion! Elegant line AND impassioned singing are not opposing forces - it's a matter of maintaining one's discipline but allowing one's voice the freedom of passion WITHIN that discipline. At any rate... Ernst Haefliger's singing was... nice. Just... nice. Not "Oh dear God, thank you for this voice!" Nice. He performed the role perfectly well, but I am unlikely to want to hear his voice again.

Josef Greindl is a superb Osmin! I adore a good bass voice, and this indeed a good bass voice. Rich, sonorous, and of course that wonderful quality of being able to sound incredibly pompous in a funny way... Some basses can sing this type of repertoire, and others cannot. Josef Greindl can. He is certainly one of my favourites in this role. But... once again, I do not choose my favourite Entführung based upon the singer of Osmin.

Martin Vantin sings a delightful Pedrillo - he has the right sort of sweet, sensuous, yet comic tenor quality that makes this role work.

But ... but... that still does not make this recording the best Entführung around. As far as tempi are concerned, I found Ferenc Fricsay's conducting a tad sluggish at times, and while the playing was stylish, it never rose above the level of "good".

The biggest drawback remains the two main characters. Stader is simply not in the top rank of singers, and her Konstanze sounded uninvolved. I remain most admiring of other exponents of this role, of whom Gruberova remains the most admirable of all... but Yvonne Kenny performed this VERY nicely as well.

Haefliger, also, has this quality of uninvolvement... and again, I do not put him into the top rank of tenors. I have already mentioned the two tenors whom I think performed the role of Belmonte superbly - Wunderlich and Richard Croft. And Peter Schreier, too, is fabulous in this role.

To those who adore Maria Stader, you will of course find little amiss in this recording, as you are unlikely to be put off by the quality that I call "uninvolvement" (either in Stader or Haefliger, who are a perfect match in this respect), and you will not find her tone as lacking in true beauty as I do. And to be fair, any purchaser of this recording will indeed find compensations...

Before you decide that I am being unfair, can I challenge you a little? Please take the time to compare "Traurigkeit" as sung by Maria Stader with "Traurigkeit" as sung by Gruberova, by Lynn Dawson and by Yvonne Kenny, in the full recordings (2 with Gruberova) of the Singspiel. And then, please do try to track down the video of the Singspiel performed in Drottingham Court Theatre, with Richard Croft as Belmonte, and listen to him ardently singing "Ich baue..." and compare that to the aria as sung by Haefliger.

I am certainly trying to be fair, and if you disagree with my opinion, feel free to contact me for a courteous discussion on the subject.

I will keep this recording in my collection, but it's certainly not my preferred CD of this beautiful, beautiful Singspiel. It has some fine things, but I do prefer my Gruberova recordings.

A sumptuous "Entfuhrung" that belies its age. .......2004-09-13

This marvelous Mozart opera, with possibly only one "dud" number in it and a vaudeville finale, seems to have been in production in many recording studios in the 1950s. In Vienna a recording was in charge of Josef Krips, in London Beecham was preparing his inimitable version, and in Berlin Ferenc Fricsay was the conductor in this DGG recording. Each recording has been reissued and remastered, and of them all I have come to prefer this one.

While Fricsay's direction has many strengths and almost no weaknesses, and while the cast has no weaknesses at all, it is principally the quality of the recording and the remastering that wins me over. The clarity and glow on the sound spectrum is outstanding for a recording of 1954 vintage. I admit that the voices are given undue prominence and the upper ends of the ladies' voices are given additional undue prominence, but the balance and engineering, whether manufactured or lopsided, give a wonderfully vivid aural image. A vivid aural image is necessary in an opera such as this, where lengthy arias and minimal action sometimes militate against success in the opera house itself.

Another admission, and one that worries me not at all, is that all the singers, apart from Rita Streich and Josef Greindl, have actors to provide their spoken dialogue. Attending to the "lion's share" of the tenor's music as Belmonte is the Swiss tenor Ernst Hafliger who, at this stage of his career, sings with sweet and supple voice. The Konstanze is Maria Stader, strong and reliable enough in technique and vocal resources for meeting the demands especially of her eight-minute aria "Marten aller Arten". Martin Vantin is a lively Pedrillo who makes the most of the little romanze "Im Mohrenland". Rita Streich, who regarded this as one of her best opera recordings, is the Blonde, and Josef Greindl, aided a little by sound engineering, displays the full range of the bass voice and not too much buffoonery as Osmin.

As a bonus, filling the second CD, is included a recording from earlier in 1954 of Mozart's "Exsultate, jubilate" sung with great assurance if not hectic joyfulness by Maria Stader.

Mozart: Die ZauberflÃ¶te (The Magic Flute)

Average customer rating:

Esta es una mágica grabación del Die Zauberflöte
A great recording
Fricsay at his best, Streich simply astonishing
Delightfful
The "secret garden" where music shines.

Mozart: Die ZauberflÃ¶te (The Magic Flute)

Manufacturer: Polygram Int'l
ProductGroup: Music
Binding: Audio CD

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Mozart: Die Zauberflote
Mozart: Così Fan Tutte

ASIN: B000001GGF
Release Date: 1992-06-08

Tracks:

Ouverture - RIAS SO Berlin/Fricsay
First Act: Nr. 1 Introduktion: Zu Hilfe! Zu Hilfe!... - Ernst Haefliger/Marianne Schech/Liselotte Losch/Margarette Klose
First Act: Nr. 2 Arie: Der Vogelfanger bin ich ja... - Dietrich Fischer-Dieskau/Ernst Haefliger/Marianne Schech/Liselotte Losch/Margarette Klose
First Act: Nr. 3 Arie: Dies Bildnis ist bezaubernd schon... - Ernst Haefliger/Marianne Schech/Liselotte Losch/Margarette Klose
First Act: Nr. 4 Rezitativ und Arie: O zittre nicht, mein lieber Sohn!... - Rita Streich/Ernst Haefliger
First Act: Nr. 5 Quintett: Hm, hm, hm... - Dietrich Fischer-Dieskau/Ernst Haefliger/Marianne Schech/Liselotte Losch/Margarette Klose...
First Act: Nr. 6 Terzett: Du feines Taubchen, nur herein!... - Martin Vantin/Maria Stader/Dietrich Fischer-Dieskau
First Act: Nr. 7 Duett: Bei Mannern, welche Liebe fuhlen... - Maria Stader/Dietrich Fischer-Dieskau/Margot Guilleaume/Ernst Haefliger
First Act: Nr. 8 Finale: Zum Ziele fuhrt dich diese Bahn... - Margot Guilleaume/Maria Reith/Diana Eustrati/Ernst Haefliger/Wilhelm Borchert/Howard Vandenburg...
First Act: Nr. 8 Finale: Wie stark ist nicht dein Zauberton... - Ernst Haefliger/Dietrich Fischer-Dieskau
First Act: Nr. 8 Finale: Schnelle Fusse, rascher Mut... - Maria Stader/Dietrich Fischer-Dieskau/Martin Vantin/RIAS Kammerchor/Berlin Motettenchor
First Act: Nr. 8 Finale: Es lebe Sarastro, Sarastro soll leben! - RIAS Kammerchor/Berliner Motettenchor/Dietrich Fischer-Dieskau/Maria Stader/Josef Greindl...

Tracks:

Second Act: Nr. 9 March der Priester... - Josef Geindl/Kim Borg/Howard Vandenburg
Second Act: Nr. 10 Arie mit Chor: O Isis und Osiris... - Josef Greindl/RIAS Chm Chor/Berliner Motettenchor/Ernst Haefliger/Dietrich Fischer-Dieskau...
Second Act: Nr. 11 Duett: Bewahret euch vor Weibertucken... - Marianne Schech/Howard Vandenburg/Dietrich Fischer-Dieskau/Ernst Haefliger
Second Act: Nr. 12 Quintett: Wie? Wie? Wie? Ihr an diesem Schreckensort? - Marienne Schech/Liselotte Losch/Margarete Klose/Dietrich Fischer-Dieskau/Kim Borg...
Second Act: Nr. 13 Arie: Alles fuhlt der liebe Freuden... - Martin Vantin/Ernst Haefliger/Maria Stader/Rita Streich
Second Act: Nr. 14 Arie: Der Holle Rache kocht in meinem Herzen... - Rita Streich/Maria Stader/Martin Vantin/Josef Greindl
Second Act: Nr. 15 Arie: In diesen heil'gen Hallen... - Josef Greindl/Kim Borg/Dietrich Fischer-Dieskau/Ernst Haefliger...
Second Act: Nr. 16 Terzett: Seid uns zum zweitenmal willkommen... - Margot Guilleaume/Maria Reith/Diana Eustrati/Dietrich Fischer-Dieskau/Maria Stader
Second Act: Nr. 17 Arie: Ach, ich fuhl's, es ist verschwunden... - Maria Stader
Second Act: Nr. 18 Chor der Priester: O Isis und Osiris... - RIAS Chm Chor/Berliner Motettenchor/Josef Greindl/Maria Stader
Second Act: Nr. 19 Terzett: Soll ich dich, Teurer, nicht mehr sehn?... - Maria Stader/Josef Geindl/Ernst Haefliger/Dietrich Fischer-Dieskau/Kim Borg
Second Act: Nr. 20 Arie: Ein Madchen oder Weibchen wunscht Papageno sich... - Dietrich Fischer-Dieskau/Weib/Kim Borg
Second Act: Nr. 21 Finale: Bald prangt, den Morgen zu verkunden... - Margot Guilleaume/Maria Reith/Diana Eustrati/Maria Stader
Second Act: Nr. 21 Finale: Der, welcher wandert diese Stra voll Beschwerden... - Howard Vandenburg/Kim Borg/Ernst Haefliger/Maria Stader
Second Act: Nr. 21 Finale: Tamino mein! O welch ein Gluck!... - Maria Stader/Ernst Haefliger/RIAS Chm Chor/Berliner Motettenchor
Second Act: Nr. 21 Finale: Papagena, Papagena, Papagena! Weibchen! Taubchen!... - Dietrich Fischer-Dieskau/Margot Guilleaume/Maria Reith/Diana Eustrati/Lisa Otto
Second Act: Nr. 21 Finale: Nur stille, stille, stille, stille!... - Martin Vantin/Rita Streich/Marianne Schech/Liselotte Losch/Margarete Klose
Second Act: Nr. 21 Finale: Die Strahlen der Sonne vertreiben die Nacht... - Josef Greindl/RIAS Chm Chor/Berliner Motettenchor

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Unlike other Zauberflötes of the mono era, Ferenc Fricsay's 1953 recording includes the dialogue, albeit spoken by actors rather than the singers. The prize assumptions here are Fischer-Dieskau's youthful, engaging Papageno, Haefliger's intelligent Tamino, Rita Streich's effortless Queen of the Night, and Lisa Otto's touching Pamina. Fricsay's tight-knit pacing doesn't hurt either. On balance, this is the finest of this short-lived conductor's Mozart opera recordings. --Jed Distler

Customer Reviews:

Esta es una mágica grabación del Die Zauberflöte.......2007-01-06

Esta grabación es una de las mas bellas de esta fascinante obra llamada "La Flauta Mägica" Ciertamente, como mejor versión discográfica, se encuentra en compañia de otras grandes versiones, como la de Karajan 1950, Klemperer, Solti, Böhm y Furtwängler. El mérito principal de esta grabación es la maravillosa dirección del maestro húngaro Ferenc Fricsay. Es ampliamente conocida, por todos los principales críticos musicales y amantes de la múcisa en general, la manera tan espectacular que tenía Fricsay de dirigir Mozart. Sus grabaciones de La Flauta Mágica, Rapto del Serrallo, Don giovanni e Idomeneo, son un testamento musical de incalculable valor artístico. Su interpretación de esta obra es sutil, elegante, con un sentido de la dinámica orquestal y del rubato extraordinarios. El cast es formidable también. El joven Fischer-Dieskau configura un Papageno de altos quilates. El gran barítono berlines, fue mas que un simple barítono un gran y estilizado ártista musical. Ni un solo matiz se pierde en su magnífica interpretación, y además ¡Que voz! ¡Que manera de cantar! Algunos críticos le reprocharon falta de espontaneidad en este rol, pero a un artista de tanta envergadura es un delito reprocharle algo así. Maria Stader logra una delicada, elegante y muy lírica Pamina. Josef Greindl fue el gran bajo alemán que todos conocemos. Su Sarastro es espeluznante no solo por lo impresionante de la voz sino por la introspección del fraseo. Ernest Häfliger, fue el tenor favorito de Fricsay y está presente en todas sus grabaciones mozartianas. Era un gran artista muy delicado y de gran estilo. Logra configurar a un delicado y sobre todo muy espiritual Tamino. Rita Streich es una de las mejores Reina de la Noche de la discografía, en compañía de Lucia Popp, Cristina Deutekom y Edita Gruberova. La naturalidad de su estilo, la facilidad de su registro agudo, lo penetrante de su fraseo son dificiles de igualar. Esta versión cuenta también con una excelente Papagena en Lisa Otto, y a un muy buen Sprecher en Kim Borg. Con lujos adicionales como los de Mariane Schech y Margarete Klose en dos de las damas. Edición plenamente recomendable por lo tanto y un verdadero placer para los oídos y para el espíritu.

A great recording.......2002-05-09

This recording of Die Zauberflote is probably the best I've heard. It has definitely encouraged me to research more of Ferenc Fricsay's work. He has a wonderful feel for Mozart, and the cast of singers is outstanding. For my ears, Dieskau is perfect for the role of papageno. His beautiful pure sound is the ideal for the buffo character of papageno. The queen of the night is by far the best I've ever heard, and I'm sorry for those of you that are hardcore Sumi Jo fans, but she simply doesn't measure up. The orchestra is wonderful, the dialogue is done tastefully and is a very charming approach for this opera. The only reason it receives 4 stars is because of Greindl. He is, in a sense, very good for the part of the stout sarastro, but his sound really gets on my nerves. The aria/chorus, 'O Isis und Osiris' is, however, a desceptively difficult aria, and few people have been able to pull it off well (I don't particularly like Klemperer's rendition either). Perhaps I'm biased because I, myself am a bass/baritone, but I would really love to hear someone do this aria beautifully, because it really is gorgeous. However, I think this recording is all-around the best I've heard of Zauberflote, and it is an absolute joy to listen to over and over again. I highly recommend it.

Fricsay at his best, Streich simply astonishing.......2001-11-14

This performance takes into account all the philosophical aspects of the opera without neglecting its pure enjoyment.Fricsay's fast tempi never forget the force and precision of each note and they contribute to achieve a delightful freshness.Everything is vivid and full of charm.
The casting, albeit not ideal, is always competent, and sometimes sublime. Haefliger is a youthful, heroic Tamino. Dieskau's voice is an immense pleasure, although I think his singing is too elaborate for Papageno's rural naivety.And Streich... just listen to her outstanding Queen of the Night.
She makes one's hair stand on end.
If you don't have it, it's just unforgivable.

Delightfful.......2001-07-21

This is a delightful recording that captures the magic of Die Zauberfloete like no other. All of the performances are strong, but Rita Streich's Queen of the Night alone is worth the price of the set. She is simply astounding.

The "secret garden" where music shines........2000-04-04

This is a mono recording with actors instead of singers in abreviated dialogs(they lack several parts, including the monologue that Queen of night tells Pamina about her father before the second-act aria, indeed, a valuable moment to see that she had other reasons to hate sarastro and not only the pain of a kidnapped girl: here you find that all about is also a fight for power). This, also, is a recording without noise (remember, it was recorded in 1954)but in which the orchestra appears frecuently overshadowed by the singers and with weak timbre definition (according not only to present day recordings, but also to 60's too). It would help that DG released it with improved sound "added presence, brilliance and spacial definition" as they say in "The Originals" series. But... In sound, other recordings are worse (Beecham, Karajan 50'). The orchestral timbres can be moderately appreciated, and it lacks noise! . And above theese considerations, this is one of the most musical recordings of this (and, perhaps, of any other) opera. This is plenty of warmth; it has strict and usually fast-paced tempos (klemperer is awfully slower); is really an "apollonian" intrepretation, with a SLIGHT romantic approach.It combines respect for the beauty of the melodic line with very good dinamic accents. The singers are almost ideal, specially Papageno, tamino, sarastro, pamina, papagena: exact style approach.

Average customer rating:

A middle-of-the-pack Freischutz with lovely female singing
A Masterpiece (and Folly) from DG

Weber: Der Freischütz

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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ASIN: B00099BPPG
Release Date: 2005-07-12

Customer Reviews:

A middle-of-the-pack Freischutz with lovely female singing.......2006-08-19

If you could have a good Der Freischutz susng entirely by women, this version from Jochum in 1959 would stand taller. The reviewer below has stars in his eyes, but 99 critics out of 100 have hailed the Carlos Kleiber set as a great recording; so far as I know, only the reviewer below has hailed this one as such. The reasons are fairly obvious on first listening. Jochum is strictly middle-of-the-road, lacking Kleiber's fire and imagination. Thats' okay--Freischutz has been a bread-and-butter opera in Germany for almost two centuries, and it's good to hear that tradition kept alive. If only Jochum didn't fall into the doldrums quite so often.

The recorded sound is good for its day, and the Bavarian orchestra is to the manner born (just don't expect them to be brilliant or thrilling). Among the leads, Irmgaard Seefried, though never totally reliable as to intonation, is a fine Agathe, and Rita Streich is even better as Annchen. Unfortunately, the opera rises and falls on its hero, Max, for whom Weber wrote a very difficult part. Richard Holm, obviously no superstar, is adequate but no better. He has a thin, penetrating tenor, as does Peter Schreier for Kleiber. Neither is ideal, but Holm sounds rather pallid and lightweight throughout.

That more or less limits how rapturous one can be about this otherwise fairly solid recording. I'd rank it somewhere below the one from Keilberth, another veteran on the same level as Jochum.

A Masterpiece (and Folly) from DG.......2005-12-22

It disturbed me when Deutsche Grammaphon chose the early 1970's "Freischuetz" under Carlos Kleiber for its "DG Originals" series: an earlier DG release from 1959 under the phenomenal Eugen Jochum supercedes it by far and deserves pride of place in the DG catalogue. It is, in fact, my personal favorite, though there are strong alternatives (basically anything with Elisabeth Gruemmer as Agathe).

Jochum's expansively Romantic treatment of the score is nothing less than stupendous, rich with atmosphere, drama and brilliant tone colors. He was the last in a line of great German Romaticist conductors. His cast is also superb. Irmgard Seefried as Agathe sounds a shade past her best what with some audible stress at the top of her voice, but the singing is basically poised and lovely with much feminine and musical phrasing that palpably expresses Agathe's angst. Her Max, Richard Holm, shows similar qualities: the voice is really too light to be ideal, but with a pleasant enough timbre and keen projection he satisfies the musical demands. Moreover, he is easily the most intelligent Max on records, communicating the character's inner conflicts and moral wranglings better than any other. Of all recorded Agathe/Max pairs, Seefried and Holm best convey the great spiritual drama and 'Seelepein' that supplied the very essence of early German Romanticism. Rita Streich is vocal perfection as Aennchen, spot on with characterization. Best of all is Kurt Boehme's roaring, rollicking, black-hearted Kaspar, frightening even in dialogue (yes! the singers themselves speak their own lines!).

The supporting cast is extremely strong, with Eberhard Waechter the very best of Ottokar's and Walter Kreppel's dour, rough-edged Hermit (drawing censure from those who want a top-class Sarastro or King Henry in this part) starkly arresting. The Bavarian Radio Symphony Orchestra and Chorus give their considerable best.

DG's later set under C. Kleiber is a very capable effort that has, in latter years, been strangely overvalued. This current release of Jochum's gets no special status or splashy production values, no libretto or booklet, no hype, no pomp. The DG executives chose badly. But for re-releasing such a monumentally great performance at so reasonable a price, perhaps the folks at DG deserve some credit afterall.

Average customer rating:

On a High!
Bel canto at its finest

Rita Streich: Folksongs & Lullabies

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Folk | Styles | Music

General | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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ASIN: B000031WYO
Release Date: 2001-02-13

Tracks:

North German folk song: Du du liegst mir im Herxen - Singgenmeischaft Rudolf Lamy
Swiss folk song: O du liabs Angeli - Singgenmeischaft Rudolf Lamy
French folk song: Frere Jacques - Singgenmeischaft Rudolf Lamy
Old French folk song: L'Amour de moi - Singgenmeischaft Rudolf Lamy
Italian folk song: Canto delle risaiole - Singgenmeischaft Rudolf Lamy
German folk song: Z'Lauterbach hab i mei Strumpf verlor'n - Singgenmeischaft Rudolf Lamy
Jewish lullaby: Schlof sche mein Vogele - Singgenmeischaft Rudolf Lamy
English folk song: Drink to me only with thine eyes - Singgenmeischaft Rudolf Lamy
Negro Spiritual: Nobody knows the trouble I've seen - Singgenmeischaft Rudolf Lamy
Japanese song: Sakura-Sakura - Singgenmeischaft Rudolf Lamy
Russian dance song: Tschubtschik - Singgenmeischaft Rudolf Lamy
Russian lullaby: Spi mladenez - Singgenmeischaft Rudolf Lamy
folk song from Trieste: In mezo al mar - Singgenmeischaft Rudolf Lamy
Deutsches Volkslied: wenn ich ein Voglein war - Singgenmeischaft Rudolf Lamy
Deutsches Volkslied: Der Mond ist aufgegangen - Singgenmeischaft Rudolf Lamy
Deutsches Volkslied: Muf i denn zum Stadtele naus - Singgenmeischaft Rudolf Lamy
Deutsches Volkslied: Weibt Du wievel Sterne stehen - Mitglieder des Bayerischen - Rundfunk-Orchesters
Kanon - Canon: O wie wohl ist am Abend - Mitglieder des Bayerischen - Rundfunk-Orchesters
Swabian folk song: Wo e kleins Huttle steht - Mitglieder des Bayerischen - Rundfunk-Orchesters
German song: All mein Gadanken - Mitglieder des Bayerischen - Rundfunk-Orchesters
Deutsches Volkslied: Glockenruf - Mitglieder des Bayerischen - Rundfunk-Orchesters
Folk song from the Lower Rhineland: Der Burgermeister von Wesel - Mitglieder des Bayerischen - Rundfunk-Orchesters
Deutsches Volkslied: Der Weschel der Jahrezeiten - Mitglieder des Bayerischen - Rundfunk-Orchesters
German lullaby: Schlaf Herzenssohnchen - Mitglieder des Bayerischen - Rundfunk-Orchesters
Deutches Wiegenlied: Schlafe mein Prinzchen sclaf ein - Mitglieder des Bayerischen - Rundfunk-Orchesters
Deutches Wiegenlied: Sandmannchen - Mitglieder des Bayerischen - Rundfunk-Orchesters
Westphalian folk song: Der Kuckuck - Mitglieder des Bayerischen - Rundfunk-Orchesters
Deutsches Volkslied: Schwesterlein - Mitglieder des Bayerischen - Rundfunk-Orchesters
Folk song from the Rhineland: Ach Modr ick will en Ding han - Mitglieder des Bayerischen - Rundfunk-Orchesters
Folk song from Upper Styria: In der Fruah - Mitglieder des Bayerischen - Rundfunk-Orchesters
Deutsches Volkslied: Abendlied - Mitglieder des Bayerischen - Rundfunk-Orchesters
Kanon - Canon: Ave Maria - Mitglieder des Bayerischen - Rundfunk-Orchesters

Customer Reviews:

On a High!.......2001-04-20

What a blessing it is that technology can preserve voices like this, sounding their best! This disc, like Lucia Popp's 'Children's Songs and Lullabies', shows the diva, Rita Streich, turning to the demands and restraints of the lied, her lovely coloratura voice now gay, now poignant, in all its clear purity. The spirit of different folksongs (including German, Swiss, French, Italian, English, Russian, Japanese ..) is captured beautifully by Streich, sometimes supported, admirably, by the Singgemeinschaft Rudolf Lamy and especially the Regensburger Domspatzen, notably in 'Der Burgermeister von Wesel' and 'Der Kuckuck'. Her very soft, very high notes, held or tossed off, are thrilling throughout but especially in the Mozart canon 'Ave Maria'. While the personality of the performer is not as striking as Popp's on her disc, Streich's simple rendition of a generous 32 songs gives the listener 79 minutes of magic.

Bel canto at its finest.......2001-02-24

I was overjoyed to see this recording available on CD after many years out of the catalogue. It contains some of the finest singing we are ever likely to hear from a light soprano voice.

Each of the selections has merit; the diction is clear, the voice true and sweet to its highest reaches. Mme Streich was a much-loved singer of Strauss (Richard and Johann) and Mozart and these songs are elevated from folk status to that of great individual arias. The phrasing and musicianship displayed here should be models for many of our current warbles who inhabit the worlds opera houses and concert venues.