No comments about Wagner: Tannhäuser.

No comments about Tito Schipa Vol. 3 Donizetti: Don Pasquale.

3 comments about Mozart: Le Nozze di Figaro, K192 (The Marriage of Figaro).

1. Despite limitations in sound, this Figaro offers us a compelling picture of the work of Karl Bohm and the famous Vienna Ensemble in the postwar era. The live occasion adds a great sense of frisson and theatre into the entire performance. Bohm conducted the ever-marvelous score with real affection and understanding of the Mozart idiom. In the all important act two finale, Bohm convincingly built up the tension amongst the protagonists which led to the show down between Figaro-Susanna-Countess and Count-bartolo-marcellina-basillio. Besides, he supported the singers wonderfully, especially to Schwarzkopf, who gaves perhaps her best performance of the Countess on disc. 'Porgi amor' and 'Dove Sono' were sung with real feeling and dramatic tension. However, Schwarzkopf is not the only star. Here we have Eric Kunz's Figaro, Seefried's Susanna Ludwig's Cherubino and Dieskau's Count, famed portrayals all in their absolute, compelling best, even if Seefried sounded a bit dry at times. And the ensemble of great names were totally responsive to each other, acting out the recitatives most involvingly, as though they were the characters...this is something that can never be emulated in the studio. Adding the marvellous playing of the Vienna Philharmonic, this is a set in a millions and for all Mozartians to enjoy. And as though we are not spoilt enough, this disc offers the bonus of Seefried's endearing early 1950s recordings of Mozart arias.



2. Two facts about this CD are not shown in the listing; thanks to " A music fan's" review, we know that it is a recording of a live performance. The other fact is that it is a mono recording ( from 1957 ). However, I deduct only one star from my rating, because of the marvellous cast, and for Bohm's entire approach to Mozart'a music.



3. THIS TITLE SHOULD BE GIVEN 5 STARS BY ANY OPERA LISTENER. THIS WAS MY VERY FIRST OPERA AND FEWER THAT I HAVE BOUGHT AFTERWARDS (EVEN THOUGH HIGHER PRIZED), GIVE YOU SUCH A REAL SOUND. YOU CAN EVEN HEAR THE FOOT STEPS OF THE PERFORMERS IN THE SCENARIO, AND THE PUBLIC LAUGHING WHEN THE COUNT HIDES IN THE SAME PLACE THAT CHERUBINO WAS USING PREVIOUSLY WITHOUT NOTICING EACH OTHER; AND THE PERFORMERS, THEY REALLY KNOW WHAT THEY ARE DOING. IF YOU CLOSE YOUR EYES YOU CAN TRANSPORT YOURSELF IN TIME TO THE VIENNA STAATSOPER. OF NOTE IS THAT I HAVE OTHER VERSIONS OF THE SAME OPERA BUT I WON'T REVEAL THE NAMES FOR ETHIC PURPOSES.

1 comments about Wagner: Die Feen.

1. Whoever thought that one day there'd be two competing, non-pirate, recordings of Wagner's first opera, _Die Feen_?

   It's an unjustly neglected opera, with a surprisingly good libretto for Wagner's first time out: a remarkably sophisticated effort with echoes of _Zauberflöte_ and pre-echoes of _Die Frau ohne Schatten_. And a score that reminds us that Wagner was a great melodist, who could have spent his career banging out tunes every bit as good as Donizetti's, if he'd had a mind to. (The immediate musical inspirations in this score may be Weber and Beethoven, but Donizetti and Bellini aren't far behind, especially in the big romantic arias for Wagner's lovers, and some supple and witty vocal writing for the second, buffo, couple.)

   But this recent recording, with Gabor Otvos conducting the Orchestra Del Teatro Comunale Di Cagliari, isn't really much competition for the superb earlier recording with Sawallisch conducting, and leading an infinitely better cast than Otvos' singing unknowns.

   There's nothing wrong with unknown singers, of course. The Naxos _Fleigende Holländer_ was also handled by obscure singers; the difference is that those singers more than rose to the occasion, making it clear that they deserve to be better known. But the obscurity of the singers in this recording of _Die Feen_ cast is unlikely to be lifted by this recording. The singing is adequate but never special, not in vocal beauty nor in characterisation. Nor does Otvos work any miracles with his barely fourth-rate orchestra.

   All in all this is the sort of recording that might reasonably have been released _before_ the Sawallisch set: to fill the gap in the catalogue with a library-reference recording. But it can't seriously set itself in competition with that set.

   This might be worth buying at a budget price, but at only a couple of dollars less than the Sawallisch set, it's not recommended.

   Cheers!

   Laon

No comments about Noach, an Opera of Genesis.

No comments about Die Walküre.

No comments about Rossini - Le sige de Corinthe / Serra Lippi Raffanti Comencini Caforio Teatro Carlo Felice Olmi.

No comments about Verdi: Requiem Mass; Aida.

1 comments about Strauss: Elektra.

1. At last something really new! Not in terms of Inge Borkh singing Elektra, this is the fifth recording available on the market! But as far as I know that one was not available before even on LPs. This set is really worth having as the event was recorded live, in a small opera house that is well adapted to the masterpiece and Borkh was there as Elektra! These CDs are however not perfect : although in stereo, the sound is a true AAD (with a lot of tape noises behind). All the cast is rather anonymous (except Resnik) and that was a standard performance at the New Orleans (nothing to do with Salzburg's or Munich's festival event!). But certainly this is why this recording gives you and relates you the true story of Elektra! Schue like others is perfectly in place and IS Chrysothemis without the stardom of a Lisa della Casa or Rysanek, that can be said also from the rest of the cast. Resnik is keen and really intelligent in the part without extras and useless accents. Borkh in 1967 does not sound as young as in previous recordings but by the time she felt it so well that she simply was Elektra! If you need some milestones of her interpretation of the role, here are some : - 1953, Melodram with Schröder : she was in her prime, very fresh but not completely involved. Rest of the cast could not be bad but is not as exciting as it should. - 1958, Orfeo with Mitropoulos : famous recording from Salzburg but the voices are placed too far. Borkh does not sound well, Madeira unnatural. Della Casa is exciting vocally but she's too cool while Böhme is too old as Orest. - 1960, DG with Böhm : probably the best of all recordings of that opera. Direction is perfect, recording is great, Fischer-Dieskau cannot be replaced as Orest, Madeira, calm is much better in the role and even Schech is probably the best Chrysothemis ever recorded although much underrated. Borkh is perfect! - 1967 : here-above reviewed. - 1971 : at the Fenice, sound is the worst although Borkh gets a new dimension into the role. Resnik is good but rest of the cast is not interesting.

No comments about Pfitzner: Palestrina.