5 comments about Giacomo Puccini: Madama Butterfly - Mirella Freni / José Carreras / Teresa Berganza / Juan Pons / Ambrosian Opera Chorus / Philharmonia Orchestra / Giuseppe Sinopoli.

1. As I've only heard this particular recording of the opera, I'm not able to make any comparisons to other recordings that may or may not be better than this one. There might be better versions out there, but I find this one to be more than adequate. Mirella Freni and Jose Carreras sounds wonderful together as they did in "Aida" and "Don Carlo"; their voices blending perfectly and they are capable of creating moments of pure delight. You'd go a long way trying to find someone sweeter sounding than these two singers, especially in the aria at the end of act I (Bimba dagli occhi pieni di malia). Butterfly's arias are beautifully sung by Freni who impresses me more and more and I find her voice to be suitable for this kind of repertoire. The final aria of this opera is heart wrenching.
   
   Jose Carreras sings his heart out as the American lieutenant Pinkerton; mostly in the duets with Butterfly where he sounds exceptionally wonderful and sweet voiced. His singing is as captivating as ever even if several critics claim that his voice had lost most of his beauty by this time.(This was recorded in april 1987). As I've said before; no-one can stir emotions like Carreras and I find his voice to be incredibly sweet and honeyed sounding in this recording. I melt like a snowman in the sun when he's singing the duets with Freni.
   
   Juan Pons is a perfect choice for the role of Sharpless; his voice dark and velvety is absolutely beautiful and a pleasure listening to. Teresa Berganza also puts in a good performance as Suzuki. I can't say I cared much for Anthony Laciura's Goro and the prince Yamadori of Mark Curtis. They are both in possession of a voice that I find to be slightly nasal and not particularly enjoyable listening to.
   
   The rest of the supporting cast sounds great and they all contribute in making this Butterfly worthwhile.



2. Sinopoli was a great Puccini conductor, as his celebrated Manon Lescaut shows. It's the best in the catalog, and when he later came to Tosca, he took a mature Freni and Domingo and extracted from them one of the most intense, if not the most, performance I have ever heard. Because of that set's depth of interpretation and searing emotion, one could easily overlook the fraying of Freni's voice, and the bald fact that it was too small for Tosca.
   
   Here, I'm afraid, the magic doesn't work. This is a very slow Butterfly, conducted once again to extract the maximum of intensity. But despite the fact that Freni's voice is superlatively suited to Butterfly (see her classic reading with Karajan and Pavarotti on Decca), there's too much mileage on it. This cio-cio San sounds like an aging diva struggling to wring emotion out of every bar. Carreras is in even worse voice, and his attempts to trumpet his way through Pinkerton's part is close to dreadful, even though he too tries to rise to meet Sinopoli's inspiration.
   
   With all these deficits, I'll skip this set and cherish the Tosca and Manon.



3. This is a terrific 1980's recording from Deutsche Grammophone. On stores it is rather pricy but on Amazon you can get it at an affordable price. This Butterfly is the incomparable Mirella Freni, in sumptuous voice, Jose Carreras is a rather fine Pinkerton, Juan Pons is Sharpless and mezzo soprano Teresa Berganza is Susuki, the Ambrosian Opera Chorus and Philharmonia Orchestra is conducted by the brilliant and late Giusepppe Sinopoli. I own Mirella Freni's Tosca, also under Sinopoli's baton and also from DG, and I can see why Puccini heroines who are both beautiful but feisty are her specialty, for both her Tosca and Butterfly are nearly in the same level. Mirella Freni surprises me each time I hear her. While she is not a true lyric-spinto or powerfully huge voice, she is sharp and strong and her chest voice is generous, her high register is beautiful. As Butterfly, she encompasses the naivete and romantic nature of the 15 yr old ex-Geisha who falls in love with a self-indulgent and careless American soldier who has no intention of staying married to her. The heartbreak of the finale in which the dishonored Ciao-Ciao San commits Hari Kiri (suicide by sword)is never more powerfully performed than on this disc and in the hands of Mirella Freni it is a moving experience.



4. I have the equally impressive Karajan recording and only listened to this one to try and get a feeling for Sinopoli's conducting. I was expecting to be disappointed, but I had quite the opposite experience. I am a little confused about the comments about this recording, since I am not familiar with Sinopoli's controversial reputation; this seems as orthodox recording as one could expect (and no where near as heavy handed as Karajan (the only serious rival)). The tempos are very expressive, especially in the first act when there are dramatic and sudden shifts that are handled masterfully. He masters the subtleties quite well, managing to restrain the passion and yet exploding at the right moments, always with a tremendous amount of control. I was blown away by the sheer beauty and total lack of sentimentality. It's definitely a very Italian recording, with a much more restrained and tempered orchestral sound than the Wagner-like Karajan recording. Carreras sounds beautiful, quite a different sound than Pavoratti (on the Karajan). Really both are suited very well for the different conductors, and since both recordings star Freni (odd coincidence? of course not, she's the Puccini soprano of our lifetimes) you can rest assured that the incredibly difficult task of Cio Cio San will be handled. The most glaring advantage over the Karajan recording is the better balance between orchestra and vocalists. Sinopoli's style is very clear and balanced, fairly opaque but very sensitive. Imagine James Levine, but instead of playing every note robotically, playing with the same quality sound in a very passionate and fiery but restrained way. I think it is a very beautiful and sensitive recording; it's also such a perfect effort that many may miss just how astounding it is. I have a hard time believing that this will disappoint anyone, although the price will be a definite limit to less adventurous buyers.



5. No one could make Puccini's music live as Mirella Freni did. She is superb as Butterfly on this recording. Jose Carreras may have been past the glorious lyric voice of his early days, but his Pinkerton is emotionally wonderful.

   There may be strong versions of this opera, but I have never heard one with more emotion.

5 comments about Mozart - Le nozze di Figaro / Te Kanawa, Popp, von Stade, Ramey, T. Allen, Moll, London Phil., Solti.

1. This is just the third opera I've owned and I LOVE it. Seriously, it is beautiful. I listen to it at the YMCA while walking on the treadmill - and the time flies by. I even manage to follow the libretto during slower moments. Even if you're a newbie like me, buy this opera.



2. The best of "Le Nozze di Figaro"
   Great Sir Solti's performance and its harmony and scale.
   Compared to Karajan, Boehm, etc...
   I thumb up Solti.



3. I really love this opera, I mean the "Figaro." I never get tire of it. The music just flows endlessly, nonstop, no break. The voices and the orchestra are in complete harmony. It is like a symphony played with human voices. It can be performed in a big house having a cast lead by big named singers or in a provincial theatre by an ensemble. It will never go wrong. I collected so many recordings of it, in LP, ADD, DDD, or DVD, more than one or two versions in each format. Listen to all these records again and again, plus attending live performance in opera houses, and watching broadcast programs on television, I am on the verge of being overloaded. Some might say that I should be pretty confused about this whole thing by now. Well, probably.
   There are many Figaro recordings consist all stars in the casting (of the five principal roles). Some even filled the sixth major role (Dr. Bartoro) with someone also a star. For this recording, when I put "Full of Stars" in the title of this review, I mean all the soloists (ten in all) were either big-star at the time of record making or on their way to become stars. That is really something. It is not always possible to assemble a big group of talent in one album. You don't find any other opera album has a cast like this one.
   As far as a review goes, there are 41 of them ahead of this one. I agree with those positive comments they made on the conductor, and the singers. Whatever needed to be said has been said; it makes this one unnecessary. Inspired by the review of "Mr. Wellio," I just could not resist not to joining the discussion. But my assessment takes on a broader scope; it goes beyond just comparing two albums (the EMI/Giulini and the Decca/Solti).
   Let it be clear that all of us have our own preference in everything. The case in point is about "Figaro," how should each character/role should sound like, among all the singers who would best suit to a certain role, etc. So, when we write a review to express our opinion, some bias is unavoidable.
   Since this is a Mozart opera, naturally it should be performed in a Viennese tradition. There are two albums that are still available in the market that do just that. Both albums were done with celebrated conductors and singers of the Staatsoper Wien. All were the best of their time. Each was positioned to the role that suited his or her voice. The first album is the 1950 EMI recording, which was led by Herbert von Karajan (now digitally re-mastered, sell under the Regis label). The second one is the 1955 DECCA recording (digitally re-mastered in 1999), which was led by Erich Kleiber. The present disc, the DECCA/Solti version was made in 1981. It was a digital recording to begin with.
   Now, what is my dream cast for Figaro? I would go for Giulinin for conductor. The singers names listed below are picked from all the artists that I know about their works, not necessary from any particular album. It is as if they exist in the same time frame, all in their prime.
   Figaro: Giuseppe Taddei - If Cesare Siepi is the ultimate Don, I don't think any one can surpass Taddei for Figaro. He is the total Figaro, so alive, with an unlimited power. Just listen to the "Non piu andrai" in the EMI/Giulini disc, you know what I mean. I had the pleasure to watch him on stage (as Figaro). It was totally amazing.
   Susanna: Lucia Popp - Susanna has to be a soubrette, or something similar. Schwarzkopf preferred Irmgard Seefried. I think Lucia Popp is the best. Besides, Popp has built her reputation on Sophie and Susanna. There is no mistake about that.
   Countess: Carol Vaness (Alternate: Elisabeth Schwarzkopf) - The countess is not a soubrette, but needs to be sung by a reputable "Mozart singer."
   Kiri was surely a wonderful Countess, so were Lisa della Casa and Fleming (she was a well thought-of Countess and has done the part so many times along the way to becoming the `Rene Flaming'). But if you really go for the voice, take Vaness. For perfection, it has to be Schwarzkopf.
   Count: George London - Despite his fame, I always think he was too rigid, too rough. I never thought he would suit for Mozart. But the Regis/Karajan disc convinced me.
   Cherubino: Frederica von Stade - This role was written for a soprano. Though not a soprano, her range, her clear tone, just makes her unique, fits the role perfectly.
   A final note: All things considered, I consider this album (Decca/Solti) the best, in terms of singing, directing and sound. It should be aware that all the singers on this disc and many of those mentioned by the reviewers here and elsewhere were retired from the roles they sang, if not dead. The next generation of great or almost great Mozart singers has not yet arrived. It is interesting to note that one reviewer did mention Alison Hagley for Susanna. I think it is a very clever way to put it. How about Bryn Terfel? He is OK if he stops becoming too commercial. Angelika Kirchschlager? I never heard her sang Cherubino. Despite she received positive review on a recent Figaro recording; I still imagine that her voice might not be high enough for the role.



4. I bought this version principally becaue of Kiri Te Kanawa'a countess. Its worth it for that alone.
   I agree with another reviewer who found the grouping of tracks and synopsis a little less friendly ( especially for those of us who are new to the complete work and want to follow along with the libretto in hand)



5. British critics in genreal love this set, with its cool, unhumorous, respectful approach to Mozart. Dame Kiri sets the tone in her two arais as the Countess, both soporifically slow but sung with purity and gleaming tone. Nobody else really catches fire, either. If you want a Figaro that's warm and witty, go for Ostman or Giulini or Levine or Kleiber or....

5 comments about Busoni - Doktor Faust.

1. Nagano's premiere recording from Lyon of the complete Doktor Faust made quite a splash six years ago and prompted a Met production starrring Thomas Hampson. Busoni employs a traditional musical language that looked the wrong way in the 20th century--his blend of counterpoint, Lisztian bombast, and chroaticism is largely forgotten compared to the idiom of Stravinsky and the Second Viennese School. Thus he joins Pfitzner, Zemlinsky, Korngold, and other lush post-Romantics whose ambitious, overstuffed lushness became a historical footnote. But Doktor Faust, like Pfitzner's Palestrina, another mystico-philosophical spectacle, is fascinating to encounter.
   
   It's a shame that the music isn't more medlocially inspired or so full of long monologues rather than true dramatic encounters. That might have made a difference with audiences and opera directors. What we do get is exhaustive, hair-raisingly high passages for the hero (amazingly executed by Dietrich Henschel, a Fischer-Dieskau sound-alike who studied with the master) and startling work from the tenor Mephistopheles, Kim Bagley. They occupy center stage much of the time. The orchestral preludes and interlueds are extensive and enjoyable if somewhat abtract, again in the vein of Pfitzner. Other reviewers, including the one from Amazon, have assessed this recording very well, so I can only add another voice in saying that Busoni's magnum opus is a bizarre, riveting one-off.



2. Doktor Faust, like Busoni's Piano Concerto, breaks the mold of how an opera is organized. The ideas of this opera germinated for some time with Busoni, and he composed the purely orchestra portion, like the Sarabande and Cortege (1912), prior to the opera itself. The opera is cast in two preludes, an intermezzo and three scenes (collectively gather under the title "Principle Action") with an epilogue. The opera begins with a short symphonic movement that sets the mood and is followed by a speaker; the poet of the drama who addresses the audience elaborating of the story that is to follow.

   The story is a mixture of different sources that include Goethe and other mystical figures, such a Zarathusra and Caliostro and Busoni's own interest in the occult. This is not the typical Faust story. One unusual feature is making Faust a baritone and Mephistopheles a tenor. We are usually expecting the Devil to be a rich, sonorous bass as in Gounoud's Faust but Busoni turns such notions on their heads. The parts of Doktor Faust and Mephistopheles dominate this opera, so their casting is highly important. Kim Begley is outstanding as Mephistopheles and brings a sinister presence to the role. Dietrich Henschel as Fautus is equally up to his challenging role and although his voice shows signs of strain during the long monologues, he is very good. Dietrich Fischer-Dieskau is the speaker, and an earlier Faust. Kent Nagano does a wonderful job conducting this multi-faceted work.

   The music has been described as linear in the booklet but one should not think it atonal and is more akin to the late Romantic works of Strauss and Mahler. Unfortunately, Busoni died before work on Doktor Faust was completed, the conclusion of the work was composed by Philip Jarnach, a pupil of Busoni's who did not have all of the composer's sketches. In 1984, Anthony Beaumont, using all of Busoni's material, composed a new ending for the opera. This recording uses the Jarnach version but also includes the Beaumont ending (which I think is closer to Busoni). Perhaps more important is the fact that this is an uncut performance of this opera. I first heard Doktor Faust over the radio not knowing who wrote it let alone what the story was about. I found it fascinating and so bought the recording. I think that anyone interested in 20th century opera will find this an indispensable recording.




3. I turned on the radio one Saturday afternoon and this recording was on. Although I had no idea whose work this was, my ears perked up immediately as I speculated: Strauss? Hindemith? Who? By the end of ActI, I knew I wanted it, and as soon as the announcer identified the work and the recording, I was on line ordering. Since then I have had no occasion to regret this impulse buy. The performance and recording job are both first-rate, and despite the necessity of doing a little programming to choose between two endings, I've listened to this more than I have to any other opera.

   "Doktor Faust" could be considered both as modern music for people who aren't crazy about modern music, and opera for people who aren't crazy about opera. The music itself is basically harmonious, and melodies and colorful, memorable, orchestral effects permeate the work, being, at the same time unequivocally "modern". As opera, it is consistently inventive and exciting, eschewing such operatic conventions as recitative, intoned dialogue, and discrete arias and choruses. The dramatic, choral and musical techniques are thoroughly integrated, to great effect.




4. I bought this CD in order to prepare for the opera which played at the Met in Jan. 2001 with Thomas Hampson in the title role. Yes, I travelled 3000 miles just to spend one evening being about 100 feet away from the man. I'm smitten.

   Well, I have to admit I liked the live opera better. It is a very visually engaging story and it needs to be seen live. Anyway despite all that this recording is quite good, and Kent Nagano did a tremendous job with such a difficult score. The chorus was chilling on Easter morning, singing praise to God amidst such evil. I liked the tenor in this opera, I think he plays the part of Mephistofeles? His voice is perfect, very shrill and evil sounding, in this opera that is made of mainly baritone voices. I appreciated the native German of Dietrich, the baritone that sang Dr. Faust. While lyric baritone is my favorite fach in general, Dietrich's tone was a bit too lyrical for this role, according to my taste, but he has no control over that. Otherwise he did very well.

   I cannot wait to see Blubeard's Castle next spring at the LA opera with Sam Ramey as Keksakallu, Denise Graves as Judith, and Kent Nagano conducting. I know the conducting alone will make that 500 mile drive worth every minute.




5. I made the unforgiveable mistake of lending my DGG 1969 CD box set of this work to someone in 1992 who due to a complicated set of circumstances could never give it back. Since then I have fretted over the loss of this magnificent work from my collection and today I am the proud owner of this wonderful recording, which is both technically and professionally superior to the older recording. I am delighted at Henschel who does the near impossible for DFF was in top golden voice in the older recording. The orchestra relishes the strange score which comes more to the fore than on the previous recording. I cannot recommend this work enough to anybody who is unfamiliar with it. In its way it is as audacious as Wagner's Ring, it is as musically inventive of an unfamiliar world as Debussy's 'Pelleas et Melisande' and as deep a rumination on the philosophy of determinism as Berg's 'Wozzeck'. The ever changing orchestral moods and Busoni's unique vocal lines evoke an uncanny atmosphere. Busoni's major source of inspiration for the work was the puppet theatre version of the legend rather than Goethe's magnum opus. Due to this fact, an air of mediaevalism underpins the work with occult forces and unfamiliar codes if behaviour. The drama performed by the actors (puppets) is like a superstructure overlaying the subliminal musical argument beneath (the actual forces of good and evil in the macrocosm). The tolling bells and the unearthly harmonies invoke a time that predates Goethe and the Age of Reason, or is as if we have lost those certainties of Transcendental Idealism and are cast adrift in a strange world where metaphysical causation and its Kantian solution have been abandoned. As a consequence, the teleological ethical certainty which derives from this loss makes Faust the actor condemned the moment he summons Mephistopheles who is 'quicker than the thought of man'. He is not to be redeemed and yet the young man who rises from his corpse in the last scene hints at the possibility of some salvage if not salvation from this human (yet cosmic) catastrophe. The Hegelian notion of negation is set out throughout the drama in the fact that every action is opposed by another force. This is exemplified in the final act when Faust is determined to pray yet is prevented from so doing by the ghost of a murdered soldier. This CD set is wonderful and more than makes up for the loss that I have been trying to make good for eight years. I will now relax and stop looking for a version of this work and enjoy this one for years to come.

5 comments about Alban Berg: Wozzeck (Opera in 3 Acts) - Franz Grundheber / Hildegard Behrens / Wiener Philharmoniker / Claudio Abbado.

1. Abbado falters when he conducts careful, reticent performances and misses the music's inner passion. This Wozzeck seems like that to me, in spsite of its technical brilliance. The orchestra s recorded far forward with incredible detail, and one couldn't expect any better than from the Vienna Phil.
   
   But the singers, reduced sometimes to a secondary attraction, don't catch fire, particularly the Wozzeck of veteran Grundheber, which is just good, middle-of-the-road work. almost every other major Wozzeck on record--Walter Berry, Fischer-Dieskau, Eberhard Waechter, and the first, Mack Harrell--seems much more inspired and dramatically intense. Behrens is a gripping Marie, and her somewhat threadbare voice by this time sounds just right for this worn-out proletarian victim. All in all, a set to value for its orchestral detail but not for the action onstage.



2. Claudio Abbado demuestra en esta grabación su afinidad con la música de Berg, la dirección es precisa, llena de detalles y aún apasionada en algunos momentos, sin embargo, ni Hildegard Behrens ni Franz Grudheber, están a la altura. Yo creo que Wozzeck es una ópera en la que la música va al fondo del subconsciente de los personajes y necesita por tanto de una gran interpretación. La mejor versión en mi opinión es la de Karl Böhm con la Deutsche Oper, con Evelyn Lear y Dietrich Fischer-Diaskau en los papeles principales, además del gran Gerhard Stolze que canta un Capitán incomparable.



3. I own this Wozzeck since it was released. I don't play it too often. But every time the experience is electrifying. I have seen a televised broadcast of this performance as well, which made me decide to buy the CD set.

   Seldom have I heard such unity and congruence in a live performance, even watching it on TV or listening at home. In Berg's Wozzeck, every musical and dramaturgical detail is most important, and this production comes very close to being ideal. Abbado and his vocalists and instrumentalists join each other in a splendid performance in which all efforts come beautifully together to create this monumental human drama. I do not want to repeat here what is said by other reviewers. To me, this recording is a document. It documents the supreme musical and dramatical artistry of Alban Berg which is on the same high level as that of the other supreme master of music and drama, Mozart.

   This production is also a monument in Vienna Opera history, as it is one of (or THE) highlight of the artistic leadership of Claudio Abbado, who, together with Claus Helmut Drese as Opera Director at the time, is to be credited for the outstanding quality of many productions at the Vienna State Opera - a quality it has lost since both left this house.




4. I have owned this recording since 1988 and still consider it among the very best classical recordings ever made. I may be alone in saying so, but I prefer it over Solti's "Ring" that the Gramophone chose as recording of the century. There are only a handful of opera recordings where the approach of conductor and singers shows such unity, and where the vocalists chose "contributing" over "starring" to such an extent.

   Alban Berg did an incredible job putting the story of Wozzeck, the archetypal innocent loser, to music. Seldom has an opera composer been able to convey heart-wrenching emotions so directly in his music, at no moment falling to the regurgitated cliches so popular in the Italian tradition. Yet, the atmosphere of the opera remains more "latin" than "teutononic". In addition, this works clearly illustrates the virtues of an atonal approach in communicating emotions in a very direct way.

   This recording stems from a time that Abbado recorded a little too much for his own good. Recording the Beethoven, Brahms, Schubert, Mendelsohn Symphonies and many other works in just a matter of years often resulted in recordings of Barenboimian mediocrity. The opposite applies here, there is an intensity/electricity that is simply mesmerizing. The recording is of a live performance and stage and audience noises abound. Don't let those and other distractions keep you from buying this set. If you only own one Berg recording, choose this one.




5. When this performance started coming out of my speakers, I was thrilled. Abbado conducts with a warmth, cohesion and tension that is wonderful to hear, and his orchestra is positively radiant. Unfortunately, the principal singers are not up to their roles. Grundheber barks menacingly but is extraordinarily sloppy and inaccurate with his note-values, making a mess of the title role; Hildegard Behrens, though more musically accurate, is about 20 years past her prime, and her voice wobbles all over the place.

   What I'm wondering is why the classic recording with Dietrich Fischer-Dieskau, Evelyn Lear and the fabulous conducting of Karl Bohm (also on DG) is out of print. When it came out about 8 years ago, in a 3-CD set with "Lulu," I snapped it up, and have enjoyed it ever since.

   Save your money on this one. Look for a reissue of the Bohm set.

5 comments about Strauss - Der Rosenkavalier.

1. For many, Karajan's earlier recording is an automatic first choice; not for me as I am one who finds Schwarzkopf's mannerisms irritating, despite her obvious skill with word-painting. Crespin, because of the very slight wear in her rich, lovely voice, is perfect to depict a beautiful, still young woman who is just slightly past her prime. The sound in this Decca recording is also superior to the EMI and Solti belies his reputation for harshness in an affectionate and detailed interpretation which gives his singers plenty of time to make their points. There isn't much to choose between the other principal singers: both Octavians, Ludwig and Minton, are boyish and impassioned, both Stich-Randall and Donath have silvery, soaring voices which handle the arcing line of Sophie's music with consummate ease, both Ochs (Ochses? Oxes?) are rude, crude, humorous and rich of voice; I haven't much time for a "refined" Ochs; he's meant to be a glorious boor of the type you can find only among a spoilt, provincial aristocracy who have little to do with urban civilisation; big fish in their rural pond. The clincher for me, apart from the better sound in the Decca, is the Italian tenor of Pavarotti, so much more glamorous and vainglorious than Gedda's rather pinched effort. I admire the old mono Viennese style set conducted by Erich Kleiber, but this is the one to choose if you want modern sound - and don't forget the wonderful excerpts by Fleming, Graham and Bonney in Fleming's Strauss recital disc. (But what's with the absurd cover design in this latest re-mastering? The original was a stylish silver box, not this silly attempt to look trendy.)



2. The CD revolution of the 80s sent record companies scrambling to transfer their LP treasures into digital sound. Ironically, Decca at first came up with shrill, metallic transfers that betrayed their famous analog sound. And so matters stood for over a decaade with such indispensable recordings as Solti's Ring cycle and renowned Strauss operas. Der Ronsenkavalier was severely harmed given that the LP version was already a birght recording with x-ray detail.
   
   But here it is sounding, if not mellow, at least not ear-piercing. The loudest tuttis from the ever-magnificent Vienna Phil. still cause some ear burn, but the voices no longer do, thank God. It's a joy to hear Crespin, Minton, and Donath soar on high without having to wince. As for the performance itself, I agree with almost every reviewer here. Solti drives a bit hard and is prone to over-emphasis, but he lowers the sugar content considerably, a great thing in Rosenkavalier. His aim is pointed drama, not luscious Viennese schlag. His singers follow suit, especially Yvonne Minton, who gives us an impetuous, headstrong Oktavian shorn of feminine nuance--this boy strides the stage like a man.
   
   Manfred Jungwirth abolishes the stereotype of Ochs as a buffoon; his characterization is full of sharp personality and shrewd detail; he's capable of being boorish and snappish, proud and brutal, without turning those attitudes into jokes. This Baron would run right over you if you stepped in his way. Helen Donath sings with complete ease and girlish charm as Sophie,. In my mind, Regine Crespin is probably Schwarzkopf's only rival in the modern era as the Marschallin. Solti never stops moving things along, so Crespin isn't given the proper setting for an inward, reflective performance of the kind Schwarzkopf had mastered. Instead, this Marschallin is restless, at times panicky, alert, and seductively young--a great portrayal full of womanly warmth as well.
   
   In sum, I will turn to the famed Karajan/Schwarzkopf set on EMI for wisdom and the Solti for thrills. Highly recommended.
   
   P.S. - a Mid-riced 'Originals' version was issued in 2008 that mmight be softer still in the remastering -- I haven't heard it yet.



3. It is probably a good idea to remember Solti came along roughly at the time stereo sound was being introduced (not exactly, but close enough for my argument). I've always felt Decca wanted a conductor capable of demonstrating to one and all why the improvements stereo offered over mono were worth spending money on. Solti was just what they were looking for. Hair trigger climaxes, louder than loud fortissimi, often brisk tempi to the point of being brusk, etc. The thing is, as people got used to stereo sound, the need for "sound demonstration" decreased. Unfortunately, Decca and Solti never figured that out.

   So, Solti remained Solti. Don't misunderstand me. Decca and Solti have given us a legacy of wonderful recordings (not including, in my opinion, The Ring, but that's another story). This "Rosenkavalier" is one of them. Yes, Solti is still Solti. Overemphatic to a fault. Decca is still Decca. Every small detail in the clearest relief, whether Strauss intended it to be so or not.

   But it has Crespin. That would be Regine Crespin, to the younger amongst us. One of the great soprani of the 20th Century. And, arguably, in the finest recording she ever made. Those of us who were lucky enough to have heard her in the house on a good night (she had bad ones from time to time) will forever be grateful this recording, the best document we have of her fabulous voice, exists. The rest of the cast is good, although perhaps not quite up to her standard. Yvonne Minton had a distinguised career, and every note she sings her is just about perfect. But she was always, at least to me, a bit too reserved. I always wanted her to just let loose. So far as I know, she never did. At least not in the recording studio. Helen Donath is as lovely here as she was in the house. A great artist. Manfred Jungwirth is teriffic here. He presents a vivid image of Ochs. Pavarotti doesn't have a clue about the satirical nature of what he is singing, of course. You need a Gedda for that. But he sure does sing it!

   I know I'm not being terribly critical, but I can't help it. Regine Crespin was a force of nature and I cherish my memories of her. And this recording.

   By-the-way, although the new cover art is abysmal (the original LP box set's cover was silver with a beautiful embossed silver rose in relief) the new mastering actually makes what was already good even better. I marvel at the untiring technical wizards in their endless quest to make something just a little better.




4. Gorgeously sung and gorgeously conducted!! What more could anybody want??? Solti's is one of the few Rosenkavaliers where you don't fall asleep halfway through. He keeps the drama moving along nicely so that you don't have to "wait for the next bit" because it's always exciting. And the sound is absolutely gorgeous as well.

   Final analysis - a drop dead gorgeous set that must feature in every Strauss collection.




5. It is exactly because Solti is dramatic and emphatic that his Rosenkavalier is not boring. Although Rosenkavalier is Strauss' most successful opera to date, it is common consensus that parts of it are just plain boring. This is especially so in Act 1, what one reviewer calls boudair (?). I would call it somewhat boring. Other conductors like to linger and bath in sound so that you feel like the music comes to a standstill. With Solti, the pulse never sags!!

   Sound-wise, the Solti wins hnads down! No doubt about that!! As the gramophone guide says, some reviewers consider Solti to be better than the Karajan. I'm in that camp! Rather than say which is better I will describe the characteristics and let the buyre decide. The Solti is exciting, lively, sumptuous in sound - somewhat like an action thriller. The Karajan is more lovey-dovey and slow, like a romantic movie showing 2 lovers slowly kissing. But really, this applies mainly to the first act. In Act2 and Act3 the differences are smaller.

5 comments about Gotterdammerung.

1. Okay, so we have the Furtwangler, Krauss, Solti, Bohm, Karajan, Goodall, Boulez, Janowski, Levine, Haitink, Sawallisch, and Barenboim Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:
   
   TIMING (Estimate):
   Furtwangler's Ring: 15 hours, 0 minutes
   Krauss: 14 hours, 10 minutes
   Solti's Ring: 14 hours, 30 minutes
   Bohm's Ring: 13 hours, 30 minutes
   Karajan's Ring: 14 hours, 50 minutes
   Goodall's Ring: 16 hours, 50 minutes
   Boulez's Ring: 13 hours, 40 minutes
   Janowski's Ring: 14 hours, 0 minutes
   Levine's Ring: 15 hours, 20 minutes
   Haitink's Ring: 14 hours, 10 minutes
   Sawallisch's Ring: 14 hours, 0 minutes
   Barenboim's Ring: 14 hours, 50 minutes
   
   YEAR(S) OF RECORDING
   Furtwangler: 1953
   Krauss: 1953
   Solti: 1958-1965
   Bohm: 1967
   Karajan: 1966-1970
   Goodall: 1973
   Boulez: 1980
   Janowski: 1980-1983
   Levine: 1987-1989
   Haitink: 1988-1991
   Sawallisch: 1991
   Barenboim: 1991-1992
   
   CONDUCTING:
   Furtwangler: The 1953 RAI Ring should be a must-have (even if you have another Ring on your shelf). Yes, it's true that Furtwangler favors slow tempi, but he makes even the slowest of his tempi intense and spine-tingling. Just listen to how he handles "Hagen's Night Watch" and "Descent/Ascent into/from Nibelheim". Now you can't call that atrocious, can you? I should remind you: there are two different box sets for this RAI Ring, one from EMI and one from Gebhardt. Best take the Gebhardt version because it has much better sound than EMI.
   
   Krauss: This is the first Bayreuth recording of the Ring, and it sure is one hell of an interpretation. Unlike Furtwangler, maestro Krauss goes for quicker tempi and greater suspense. Compare his "Siegfried vs. Fafner" and "Waltraute's Narrative" to later recordings and you'll see that he is a musical champion. There are about four different box sets that are out there right now, but you will only need one: the Opera D'oro release.
   
   Solti: Everyone knows that this is the first studio recording of the Ring. And everyone knows that Solti has become a famous name that's attributed to this. Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His "Donner's Song" & Gotterdammerung Preludes are clear examples: they're annoyingly loud and bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.
   
   Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe Rheingold Prelude). I especially like his "Flight of the Valkyries" & "Forging Scene"; both are the most energetic on disc.
   
   Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as "Brunnhilde's Awakening") are controlled nicely. His "Entrance to Valhalla" and "Funeral March" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.
   
   Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Immolation". This was recorded live and sung in English.
   
   Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works better if you hear AND see it (the DVD's work best).
   
   Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Boulez's). Rheingold Scene Four can be best described as "sensational".
   
   Levine: This conductor has his own fair share of lyricism, too. Only, his lyricism is softer and much slower than Karajan's. Sometimes you'll be annoyed at his plodding tempi in parts such as "Wotan confronts Siegfried" or "Loge confronts Alberich", but you'll be amazed by the stunning splendor of "Annunciation of Death" and "Forest Murmurs". Be on the sharp lookout, also, for Levine's perfect "Erda's Warning".
   
   Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).
   
   Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.
   
   Barenboim: It's hard to describe Barenboim's Ring. I believe that he uses a little bit of everything: bombast, lyricism, intensity, beauty, fast tempi, slow tempi, measured phrasings, yada yada yada. And he uses all of them so well, that this Ring ranks with Furtwangler, Krauss, Bohm, and Janowski as one of the greats.
   
   ORCHESTRA:
   Furtwangler's RAI Rome: I think that much of the criticism that's been given to RAI are simply insensitive. Yes, it doesn't rank with other, more experienced orchestras, but what you get is the final result of what the great Furtwangler wanted. Woodwinds in "Wotan's Farewell" are marvelous, the brass in "Wotan Summons Erda" simply stunning. Maybe if people listened to the Gebhardt release instead of the EMI, then they would appreciate the orchestral playing a bit more.
   
   Krauss's Bayreuth Festival: Due to limited rehearsal time, the orchestra sounds robotic a few times. However, that's only a minor flaw: there's everything that you need for a 14-hour Wagner opera. From the thunderous brass to the smooth woodwinds, from the loud percussion to the saintly strings, it's [almost] everything that you need for a Bayreuth performance. "Magic Fire Music" in mono sounds even better than Barenboim's "Fire Music" in stereo.
   
   Solti's Vienna Philharmonic: The woodwinds aren't really the most beautiful in Solti's Ring, but they are still a plus. French horns and Wagner tubas make this a recommended listening. The strings could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.
   
   Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are some of the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Scenes involving Erda and Three Norns aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tension. Overall, this orchestra is the most energetic.
   
   Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung Act Two Scene One sounds very mysterious, very eerie.
   
   Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. "Forging Scene" doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest; Act Three Prelude is the dullest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.
   
   Boulez's Bayreuth Festival: Boulez turns this orchestra into an almost chamber orchestra (like Karajan's). While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Rhinemaidens' motifs) fares better than Berlin's, but is crushed when compared to English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness.
   
   Janowski's Staatskapelle Dresden: This orchestra has only half the force & flair of Solti's Vienna, but Dresden sounds much clearer due to the fantastic digital sound. All the minor details that are found nowhere else are heard in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Karajan's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.
   
   Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound a bit too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.
   
   Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, because it sounds just as poignant. While the woodwinds are not as good, the strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.
   
   Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.
   
   Barenboim's Bayreuth Festival: Do I really have to tell you that Bayreuth in the really 90's still went strong after all these years? Do I really have to tell you that the brass and percussion are kept under control, and that the strings and woodwinds outstrip Berlin and Bavarian Radio? Do I really have to tell you that almost everything is as it should be? . . . Fine.
   
   SINGERS:
   -Wotan
   Furtwangler: Ferdinand Frantz has something that other Wotans can't touch. Maybe it's that when he sings "Abendlich strahlt der Sonne Auge" he makes people swoon (back in the day, of course). Maybe it's that when he sings "In eig'ner Fessel fing ich mich" he scares the hell out of people. I think it's that when he sings "Auf wolkigen Hoh'n wohnen die Gotter" amazement spreads like . . . I can't think of a perfect simile at the moment. So anyway, Frantz is a great Wotan.
   
   Krauss and Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Solti's Rheingold, in which a less stellar George London performs). It's true that he gives an utterly heartbreaking performance during "Der Augen Leuchtendes Paar", and it's true that he was well past his prime when he did Solti's Ring (but don't let that stop you from listening to his classic "Dir unweisen ruf' ich's in's Ohr"). Makes me wish I heard Keilberth and Knappertsbusch's Ring recordings sooner.
   
   Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording ("Der Augen Leuchtendes Paar" is wobbly), but he still doesn't disappoint.
   
   Karajan: Dietrich Fischer-Dieskau plays Wotan in Rheingold, while Thomas Stewart replaces Fischer-Dieskau in Walkure and Siegfried. I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both Walkure and Siegfried.
   
   Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen. I enjoyed his singing during Siegfried Act One.
   
   Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.
   
   Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau and McIntyre pretty much throughout both Rings. His multi-dimensional performances are compelling in Walkure. "Nicht send ich dich mehr aus Walhall" should not be missed.
   
   Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his "Leb Wohl, du Kuhnes herrlisches Kind" wasn't enough to astound me.
   
   Barenboim: The rough, deep voice of John Tomlinson should keep people up during the night. You can tell right away after his entrance in Rheingold that he will be flawless later on in Walkure and Siegfried. No, he is not Hotter. And no, he is not horrible.
   
   -Brunnhilde
   Furtwangler: The only thing that Martha Modl's voice lacks is sensitivity. She's rough, she's sensuous, she's lyrical, and that's pretty much it. There seems to be no innocence or intelligence in the voice. But I could be wrong, since my ears are different than everyone else's.
   
   Krauss: Astrid Varnay matches Martha Modl, only that she is the one that has innocence in her voice. She gets five out of five stars from me.
   
   Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her "Soll fesselnder Schlaf fest mich binden" is brilliant beyond belief.
   
   Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Siegfried and Gotterdammerung, sorry to say).
   
   Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."
   
   Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).
   
   Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.
   
   Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin. While she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).
   
   Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".
   
   Barenboim: It sure feels like a cycle when Anne Evans sings as Wotan's favorite daughter. In Walkure, she sounds like a young girl, but as the story progresses, so does she. Her voice and personality changes dramatically during the Gotterdammerung Prologue and especially during the final days of the Gods. Absolutely striking.
   
   -Siegmund & Sieglinde
   Let's see. For the Siegmunds, we have Wolfgang Windgassen for Furtwangler, Ramon Vinay for Krauss, James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, Robert Schunk for Sawallisch, and for Poul Elming for Barenboim. For the Sieglindes, we have Hilde Konetzi for Furtwangler, Regina Resnik for Krauss, Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, Julia Varady for Sawallisch, and Nadine Secunde for Barenboim. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Two exceptions, though: Goldberg doesn't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.
   
   -Siegfried
   Furtwangler: I'll just describe the singing of Ludwig Suthaus in three words: Oh So Good!
   
   Krauss and Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in the latter renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming. Be careful, though: during Krauss's "Forging Scene" he makes tons of mistakes, but they'll get used to later on.
   
   Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.
   
   Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.
   
   Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. I like him better when he's performing as Mime in later Ring productions. Again, the DVD's are your safest bet.
   
   Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.
   
   Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.
   
   Haitink and Barenboim: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm in both renditions. Bravo!
   
   -Alberich
   Furtwangler and Krauss and Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?"). Reminder: In Furtwangler, Neidlinger is replaced by Alois Pernerstorfer in Siegfried and Gotterdammerung.
   
   Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.
   
   Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.
   
   Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.
   
   Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.
   
   Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.
   
   Haitink: No offense, but Theo Adam as Alberich? Come on . . .
   
   Barenboim: Gunther von Kannen doesn't completely eclipse Neidlinger and Wlaschiha, but he joins in with Nimsgern and Hammond-Stroud for his humane performance. "Bin ich nun frei?" was good, but not great.
   
   -Mime
   Furtwangler and Krauss: What do Julius Patzak (F) and Paul Kuen (K) have in common? Why, they both sing their parts without any caricaturing in the way. They both sound luminous and painless in every way possible. Kuen is slightly below Patzak's level, but that's okay. They're both excellent Mimes.
   
   Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners. But of course, Stolze's truly unsettling caricaturing of Alberich's brother will catch on after repeated listening.
   
   Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.
   
   Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.
   
   Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.
   
   Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is just above average, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.
   
   Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).
   
   Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.
   
   Barenboim: Graham Clark is also like Schreier and Zednik. he's very VERY good. Again, nuff said.
   
   -Loge
   Furtwangler and Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegmund/Siegfried AND Loge? The demi-god needs to sound different from a Walsung, or a son of a Walsung. All in all, a Loge that's marred by lack of cunning.
   
   Krauss: When listening to Erich Witte's Loge, I kept thinking to myself, "why doesn't he sound like Windgassen, and not a Norse clown?" I don't know, maybe Loge (or Loki) isn't supposed to sound like a clown, but maybe he is. I guess it's all up to the conductor's casting choices.
   
   Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.
   
   Karajan: Gerhard Stolze is easily one of the most entertaining Loges to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.
   
   Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.
   
   Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief! Scene Two is when he's at his finest.
   
   Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on imagination and deviousness, Stolze only vengeance and deviousness, Windgassen and Witte only peril. His odd conversations with Alberich and the gods/goddesses are classic.
   
   Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.
   
   Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.
   
   Barenboim: Graham Clark? Well, he's no Gerhard Stolze, but he does stay in tune with most of the music in Rheingold. "Immer ist Undank Loge's Lohn" will certainly be somewhere in the top.
   
   -Everyone Else
   Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Christa Ludwig is the most brilliant Fricka (Bohm and Levine). Levine contains the most memorable Gutrune of Cheryl Studer, while the most brilliant Valkries are found in Krauss, Bohm, Boulez, and Haitink. Goodall, Boulez, Janowski, and Sawallisch contain the best Freias, Frohs, and Donners. The Norns and Rheinmaidens do a splendid job in Furtwangler, Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Boulez, and Barenboim. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.
   
   CONCLUSION: I have yet to listen to Neuhold's Badische presentation, Haenchen's Netherlands version, and two more mono recordings (Keilberth and Knappertsbusch), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the intense Furtwangler, the undeniable Krauss, the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, the serious Sawallisch, and the futuristic Barenboim Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.
   
   Das Rheingold: Das Rheingold
   Die Walkure: Die Walkure
   Siegfried: Siegfried
   
   Box Set: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti



2. Wagner aficionados tend toward extremes. It's a natural result of listening to Wagner's music, which encompasses all manner of extremes; duration, volume, demands upon the vocalists, conductor, instrumentalists, etc. So it is not surprising to see criticism of Georg Solti and the Vienna Philharmonic described in extreme terms. Mostly favorable, but when it's bad, it castigates Solti mercilessly. I think this recording of "Gotterdammerung" is surpassing in its mastery of pacing, musical and vocal skill, and interpretation by the conductor.
   
   My one complaint with the entire Decca 'Ring' recording is a result of one of the most important sections of this opera. Solti and the VPO, having awed and astounded us for thirteen-and-a-half hours by this point, collapse completely when faced with "Siegfried's Funeral March". My favorite recording of this famous piece is by George Szell and the Cleveland Symphony Orchestra. It surrounds and engulfs the listener. It is smooth, deliberate, incomparably played, and takes the listener from the depths of despair over the murdered Siegfried to the heights of triumph as Wagner reminds us of his hero's stellar ancestry. But Solti and the VPO's rendition is disappointingly weak. Choppy, poorly paced and indifferently played. It is the one weak point in the entire Solti Ring, but it's a big one. The rest, the Norn scene, Siegfried's Rhine Journey and the Immolation Scene are beyond compare. It is truly a one-of-a-kind recording.



3. I remember in the Sixties when this Gotterdammerung came out and was greeted with lavish praise for its dramatic power, the impact of the sound, the incomparable Brunnhilde of Nilsson, and the thrust of Solti's conducting. In every way it was the crowning glory of his entire Ring cycle (though not the last installment to be recorded.) After a decade of mostly indifferent playing, the Vienna Phil. also emerged into its real glroy.
   
   After a gritty, nasty ADRM remastering in the mid-Eighties, Decca has brought out this newly remastered digital version that sounds very good, if not quite up to the original LPs in terms of naturalness and "air" around the singers.
   
   It was generally felt at the time that Solti's Gotterdammerung would never be surpassed, and so it has proved. Karajan's competing cycle from Berlin culminated in a decent Gotterdammerung, but the Siegfried was weak, even compared to the aging but skillful Windgassen, and Helga Dernesch, though a fine dramatic soprano, couldn't compete with Nilsson.
   
   So this is it, still the only Gotterdmmerung with world-class casting and magnificent stduio sound. There are days when I curse Solti for his brutality on the podium, but on the whole I remain very grateful to everyone involved.
   
   P.S. (Jan. 2008)
   
   With the appearance of a live Bayreuth Gotterdammerung on the Testament label, Solti's set received its first serious competition in the modern era. I thought it might be useful to offer a buyer's comparison between the two rivals.
   
   I was prepared not to find this Gotterdammerung superior to, or even equal to, the preceding Siegfried from the same source, but one listen told me that all is well. Solti's Gotterdammerung is one of the recordings of the century (I read one poll where it was voted THE recording of the century). Yet for overall dramatic effect, Keliberth also leads an inspiring performance. Since Testament is asking a dear price for this historic set, it might be worthwhile to compare the two rivals.
   
   Solti: The overwhelming element here has always been the Vienna Phil, recorded in sumptuous grandeur by Decca. For sweep and epic proportion, no one has come close to matching them. The next great thrill comes from Nilsson, a Brunnhilde of incomparable power and gleaming penetration in hre voice. Solti gives us his best effort in Wagner, and among the supporting roles the Waltraute (Christa Ludwig), Gunther (Fischer-Dieskau), Alberich (Neidlinger) and Hagen (Frick) cannot be faulted. Windgassen's voice had become worn and leathery over the years, and his aging Siegfried, although highly experiened and musical, isn't a pleasure to listen to for beauty of voice or youthfulness. (It sounds considerably more taxed, however, in the live Bayreuth set under Bohm on Philips.)
   
   It must be remembered that the stereo era hadn't seen a complete Gotterdammerung before Solti's pioneering effort, which stunned the classical music world in the early Sixties. After four decades, it remains undiminished and sells for reduced price is various reissues. One should seek out the latest remastering, since the original ADRM version from the early Eighties sounds thin and shrill compared to the original LPs.
   
   Keilberth: Decca also recorded this 1955 live Gotterdammerung, which would be the standard to this day if they hadn't rejected it and moved on to record Solti seven years later. The decision made sense at the time. Although the sonics are fine for a live performance, we hear some audience and stage noise, and the occasional fluff in the Bayreuth orchestra, which in any event isn't the equal of the Vienna Phil. by a long stretch. (Test Siegfried's Rhine Journey with its blatty brass, distant horn, and thin, scambling strings.)
   
   Keilberth does one of his best jobs coducting, but he is proficient and experienced rather than inspired. At moments he manages to excel himself, as in the riveting Calling of the Vassals, a hair-raaising episode with chorus and orchestra in full cry. Keilberth has one good trait that the hard-driving Solti lacks, a flexible, expressive beat. I especially liked the opening scene of the opera with the three Norns, which he keeps from dawdling. But at times Keilberth is too anxious to move forward, and the great set pieces of the Rhine Journey, Funeral March, and Immolation Scene lack the grandeur and technical polish of studio recordings.
   
   In the cast the standout is Astrid Varnay as Brunnhilde, who sings with passion and commitment, and whose voice, although not conventionally beautiful, is womanly yet heroic and gleaming enough to encompass the role (she doesn't get overly tired by the end and remains resplendent in the Immolation Scene). Windgassen is nearly as good--he and Varnay were frequently paird and had made duet recordings of Wagner for DG, newly reissued. His voice was fresh in 1955, and he shows considerable stamina during the Act 1 love duet. In the end Windgassen was only an almost-Heldentenor, but we haven't seen his like as Siegfried since, so I can't complain too much about his unlovely timbre. The supporting cast is nearly as strong as for Solti, with Neidlinger repeating his signature Alberich. Decca's microhones capture the voices onstage quite realistically and with minimal fade-out due to stage movements.
   
   Overall, Keilberth's interpreatation goes for momentum and propulsion, which is fine over such a long evening, while Solti gives us richness, epic sweep, and the incomparable beauty of the VPO. I am not aobut to make recommendations between the two sets. Many of us who love Gotterdammerung have owned the Solti forever, so it's wonderful to get a second bite of the apple. We'll own both and be greateful.



4. As the 3rd act (and finale) of the Ring cycle (with Walkure being act 1, Siegfried as act 2, and Rheingold as a prelude), it contains some of the most powerful music by Wagner, and needless to say, some of the most powerful music.
   
   What is meant by powerful? Well, it is literal: This opera is full of power, in both its drama and its music. As such, it requires powerful singing, a powerful hand to control the music, and musicianship that can rise to the level needed to bring the impact of the power of this work to its fullest. The Solti Gotterdammerung does precisely that.
   
   Gotterdammerung also contains some basic orchestral standards that are unsurpassed in this recording:
   
   1. Dawn and Siegfried's Journey to the Rhine--The only comparable version I've heard of this piece is Furtwangler's, and his "Dawn" is just amazing! Solti comes close, which is quite good. Furthermore, the pace and power of the Rhine music is just right. The brass (often dominant) and the strings (with their sweep) are intricately balanced. The net effect is extremely thrilling.
   
   2. Siegfried's March--A difficult piece to conduct right. The version captured here is actually at a faster pace than Solti wanted, but Culshaw wanted the music to flow strongly. I agree with the assessment, and as a result, we have a fantastic interpretation of a potentially delicate piece. Too slow, and the effect is lost; too fast, and there is a lack of the severity and solemnity of the scene.
   
   3. Immolation Scene--This is where "the fat lady sings." Many of the leitmotifs of the opera come together in massive interweaving of thrilling music. It is sometimes difficult music to listen to in the sense that there is considerable amount of chromaticism employed. The so-called "redemption" motif is underneath Brunnhilde's last words to her love for Siegfried, but its harmonic progression is unsettled, even agonizing. The same goes for the heavy brass used in the actual twilight section after the immolation, where the "Valhalla" motif rises ever higher in each bar, but the chords denote tension. Nonetheless, this is among the most powerful pieces of music ever written, and it could be argued that there was just no other way to achieve the incredible effect of a tragic ending, followed by the hope of the redemption motif.
   
   While these pieces are very powerful in their own right, there is very little "filler" in this opera. There are many parts that are thrilling and powerful in their own right. But to pull of the entire opera and all its glorious and tragic moments, many things must work together to achieve the pinnacle. This Decca set captures all of those, namely: Solti's dynamic directing, the VPO's amazing orchestral performance, and the singers' vocals all rise to the occasion. An added benefit is John Culshaw's vision actually bringing this work to its fullest fruition.
   
   The result is an amazing effort overall. Although I consider the Decca Siegfried the closest to perfection (see my review there), this is a very close second. It is truly a work that can be savored at different levels.



5. The balance between singers and orchestra is just fine. Wagner himself designed the orchestra pit at his Festspielhaus such that the sound from the orchestra is reflected to the stage and then back to the audience, in effect allowing the voice of the singers to rise above the very large (and loud) orchestra.

3 comments about The Bartered Bride.

1. Sometime ago I posted a review on the highlights version of this audio CD. As an after thought, I think it is also proper to post a review here because both are from the same recording.
   I agree with Mr. Edwards's assessment of this CD (which appears in the box set version of the same recording). Basically, he described it (being quoted here) as: 1. It is one of the greatest recordings of the BARTERED BRIDE now available or ever available on CD. 2. The casting has no equal. 3. There is absolutely no weak link and the sound is top notch.
   I cannot think of any better way to put it other than what he said. Right on! Having said, I do like to take this opportunity to elaborate this subject matter further.
   Case in point: There is a 1963 EMI recording that included Pilar Lorengar and Fritz Wunderlich. As far as singing goes, I consider these two teams of singers are equal (i.e., Benackova/Dvorsky vs. Lorengar/Wunderlich). The rest of the cast in the EMI CD that includes Gottlob Frick is just as strong. One might argue that it is hard to compare the two CDs because the EMI recording was sung in German, rather than the original Czech. We may even have the tendency to giving more credit leaning toward the cast that has Czech as their native lounge. But I really like to draw people's attention on Lorengar, who's singing on the EMI CD. It is so good that no one should miss, especially for whose likes a crystal clear voice. And this is the best recording of hers as cited by many music critics. Don't take the critics' word for it; just judge it yourself. It was pity that none of Marenka's music is included in the ART OF PILAR LORENGAR (DECCA, a 2-CD Set).
   It should be noted that I gave 4 stars to the highlight CD (instead of 5 stars for this full version) because Marenka's area in Act 3 was not included there.



2. THIS RECORDING HAS BEEN AVAILABLE FOR QUITE A WHILE. THOSE LEGIONS WHO HAVE APPARENTLY NOT HEARD THIS RECORDING HAVE MISSED ONE OF THE GREATEST RECORDINGS OF THE "BARTERED BRIDE' NOW AVAILABLE OR EVER AVAILABLE ON CD. THE CASTING HAS NO EQUAL. BENACKOVA AND DVORSKY ARE BRILLIANT SINGING ACTORS AND THEIR VOICES ARE STRONG AND BEAUTIFUL. THE WHOLE CAST BREATHES THIS WORK AND KOSLER IN THE PIT MAKES THIS WORK THE MASTERPIECE THAT IT IS. THAT IS ABSOLUTELY NO WEAK LINK ANDTHE SOUND IS TOP NOTCH. THIS BELONGS ON YOUR SHELF ALONG WITH "THE HAUNTED MANOR' AND 'DALIBOR'. THE LATER TWO HAVE WONDERFUL PERFORMANCES ON EMI AND DYNAMIC RESPECTIVELY. PLEASE GIVE THEM A LISTEN AND GIVE YOURSELF A TREAT. THE ORCHESTRATION ON THE 'DALIBOR' IS BREATHTAKING. WARNING; THEY NEED MORE THAN ONE HEARING BUT THEN THEY WILL GRAB YOUR VERY SOUL AND SPIRIT.



3. I ordered the audio CD of Smetana's opera The Bartered Bride because I knew about the plot and thought it very good. I was right! I really enjoyed it. I did have to read the guide as I listened to it, and because there was an English translation which I read prior to listening to it for the first time, I understood it for the most part. The plotline is simple enough if you understand it. Marenka, a peasant girl in a Czech village, is in love with Jenik, whose past is unknown. However, a marriage broker, Kecal, has encouraged her parents to have her marry Vasek, the second son of a landowner named Tobias Micha. Micha did have another son, an elder one, but that son had disappeared. Marenka persuades Vasek to give her up, and Kecal appears to persuade Jenik to give Marenka up in exchange for money to "the son of Tobias Micha". It turns out that Jenik is the eldest son of Tobias Micha! The singers all did a good job portraying their characters. Miroslav Kopp, who sang Vasek, did a good job portraying Vasek's immaturity. Vasek is nice, but he's just a boy, basically. Kecal believes he's clever enough to get what he wants, and Richard Novak reveals this very clearly. Gabriella Benackova-Capova portrays the essentially serious (though occaisonally gay) Marenka very well also. I especially loved Peter Dvorsky's Jenik. Dvorsky showed us the genuiness of Jenik's love, and Jenik's cleverness as well. I especially loved hearing Jenik bargaining with Kecal, since I knew the joke was on Kecal. I recommend this opera to all opera lovers, though of course those who hate opera probably won't enjoy it, since it is sung in Czech. Belle Book

5 comments about Callas: La Divina [Limited Edition].

1. Excellent collection showcasing Callas's full range of vocal talents and her most well known pieces. The set also contains an interview with her that answers many questions one may have about her as an artist.



2. This Beautiful Box holds Tears, Laughter, Sadness, Joy, Madness, Deliriam, Love, Hate, Great Good, Evil Incarnate...And MORE!
   
   Never, in the whole history of acting, singing, all of theater, has there Ever been Anyone Like Her! Mlle Callas! The Great One! La DIVINA!
   
   All this amazing woman had to do was simply walk out onto the stage; and it was "automatic"...you were "hooked"...PERIOD! She did not have to even open her mouth! Never, in all my years have I ever seen anything like it! Even in the few pieces of film clips that we have of her, it is spellbinding to watch this fabulous entertainer work her talent(s) to our complete, spellbound, belief that she was, certainly, whoever she was "playing" on any given night/in any performance! Truly, The Greatest Performer of the 20th Century (NOBODY could touch her or even come close for sheer dramatic intensity)...the Looks! the Expressions! the Arms! the Hands! the Eyes! And, of Course, the VOICE!
   
   The Voice: While it was not "pretty" like Tebaldi, Sutherland, and many others, it was impossible not to be drawn in, spellbound, by it. It was, in truth, sort of ugly...but, you Could Not ignore it! You could not pass over it! It was Real, Believable, and you willingly drank it up! We, luckily, have the recordings that "La Divina" left us, and, they are enough. Some are perfectly caught, some are not. All are satisfying, because they are what we have.
   
   Once in a generation, perhaps, we get a supreme artist. In the case of Mlle Callas, it was once in a century...and, how lucky we are that it was a century that had recording equipment to preserve her efforts for us. EMI, thanks to you for packaging these four beautiful discs for our enjoyment into this perfect little black box! Long Live Callas...."Bravo" La Divina! Enjoy this one, folks! ~operabruin



3. I have listened to this 4-cd set numerous times and each occasion yields an abundant harvest. Maria Callas, one of my favorites, thrills, exalts, and saddens the listener to no end. You don't have to be a classical music fan to enjoy and be moved by this music. I cannot find words to substantially explain the beauty and meaning of this set.
   
   Thank you La Divina.



4. I am no expert, I just love music. I bought this set in order to get an overview of what Callas offers, boy did I get more than I bargained for. There are many wonderful sopranos, I won't say this one or that one is better... its like good wine, what you choose to drink depends on your mood. Sutherland is purity, Bartoli is sheer joy, Callas is darkness. For me she is the Schubert of the voice and she can make me weep, that is her power, pure and simple.



5. With the apparent genius embedded in Callas' singing, it is no wonder that decades after her death, her voice will still echo within the chambers of our living rooms. Her great sense of the bel canto style, combined with the empassioned soul she juxtaposed into her performances, along with her amazing control over the three hundred (acclaimed conductor Nicola Rescigno said this) voices she had, are undeniably the reason why such a controversial singer survived the passing of time with a legion of fans still eager to submit to her amazing and passionate singing. She had the ability to chop a singular, monotonic-sounding instrument to convert it into a million shades of human emotion--something that no great singer was able to do today. She was the divine goddess of opera, able to command any listener to watch and listen to her declaim her roles. It was because of this that she was called "La Divina", and then many years later as "The Voice of the Century". But what defines a Voice of the Century, you might ask? It is the ability to live the life of a character all the while singing the lines, the melodies, the trills, and the embellishments required to bring a certain degree of drama into the role. Meaning there was no need for overornamentation, or such and so. Being the Voix du Secle didn't mean that you could sing coloratura roles so efficiently. If that were so, then Lily Pons would have been the Voice of the Century. Callas did so much more than that. She breathed life into opera, and turned it into the most illustrious and the most highly celebrated of all arts. No other singer can claim to have done that, no matter how amazing the range, how great the tonal quality whatsoever. Only Callas deserves such a title...and she truly was La Divina and The Voice of the Century.
   
   I am also a big fan of Joan Sutherland. I just don't find it right for her to be tackling overly dramatic roles such as Norma, which her middle voices couldn't support. The middle voice is required for Bellini, you know. Joan Sutherland has a perfect vocal technique, but let me let you in on something divulged to me by an authority in music: Joan Sutherland never learned to read notes. She had a perfect sense of hearing, and it was Andre Previn and not Richard Bonynge who introduced the roles to her. Andre Previn would play a note on the piano, and she would just follow by singing. Surprising isn't it that the most celebrated coloratura of our age never learned to read notes? She has a great voice anyhow, but the only other thing that bothered me is that she didn't put her soul into singing. Although her voice remained in her throat until her 60's, the only reason that happened was because she didn't pour out her soul. Callas' technique, although one of the most attractive ever to have walked this planet (she could very well sing anything and be the character), was damaging to the vocal cords. Pouring your soul into the role has a tendency to scratch your instrument. Still, she was the Divine One, and she truly places first as my favorite soprano of all time.

5 comments about Verdi: Aida / Abbado, Teatro alla Scala.

1. Claudio Abbado, who I believe was head of La Scala when this Aida was made, is capable of exciting Verdi readings, but this isn't one. I don't know if he was trying to make the score sound less like a warhorse by smoothing it out and reducing the melodrama, but Aida isn't a warhorse: it's a masterpiece. His staid tempos and underpowered climaxes frustrated me from beginning ot end.
   
   Not the their is any huge losss when it comes to the singing. Domingo was much more powerful in hhis two other studio recordings opposite Leontyne Price for RCA and Monserratt Caballe for EMI. Here he seems to have been subdued by Abbado's understated interpreatation. As Aida, Katia Ricciarelli is severely over-parted. She was a fill-in during a time when no credible dramatic sopranos were at ahdn, and therefore she landed roles like Tosca, Turandot, and this Aida that even close placement of the microphone can't boost enough. Her tone wobbles severely in climaxes, although I must admit that she tries to inject some dramatic fervor into her phrasing.
   
   By contrast, Obrazova chews up the scenery as Amneris and has a clotted Slavic vocal tone that doesn't suit Verdi. The orhcestra nad chorus sound less than enthusiastic. In sum, a big disappointment and one of the least convincing Aidas ever to emerge from a major label.



2. Aida is the very definition of "Grand Opera". I have noted how many recordings of it there in stores and on Amazon.com. It can be overwhelming sometimes. But if you are seeking for the perfect or the best Aida, thats all a matter of personal choice. Each Aida has its special aspect, something in the conductor's style or the orchestra, the lead tenor-soprano magnetism, the performance of the mezzo as Amneris, the chorus, always something to enjoy. With this recording, we get some fine singing from Domingo and Ricciareli. Of the two, Domingo was the more experienced Verdi singer. His discipline and artistic integrity as an an actor of the opera enabled him to sing Radames, a role which is testaterone-driven, heavily sung, masterful and top-notch tenor stuff. Domingo is an elegant singer and like Corelli loved to challenge himself. Calaf and Radames were roles which required him to push his voice for darker and more thunderous effect, as is most notably Otello. As Radames he is doing a glorious performance, and this recording is his best Radames of his later period. His first is the one he recorded opposite Leontyne Price on the RCA Label. Domingo and Price actually are the greatest interpretors of Aida and Radames. That one by far takes the crown for the best. But this one is nothing to laugh at. Ricciarelli is a fine singer, with dramatic integrity. She is, for me, an example of a high, lyric voice (not really as dramatic or spinto as the big Kahunas of soprano territory- Callas, Leontyne Price, Tebaldi, Birgit Nilsson, Montserrat Caballe)..she does have a lighter, smaller voice than them. But Beverly Sills did too and she had an incredible and successful career which extended after retirement to managing opera. So Ricciarelli is a truly gifted singer taking on a role that could have damaged her voice but did not. She also sang Tosca to great acclaim. And Turandot. She is more like Carol Vanness in this manner. The fire is not so much in the voice but in the hint of it. As Aida she is amazing. Mirella Freni, too, a lighter lyric voice, recorded a successful Aida.
   
   Listen Ricciarelli sing "O Terra Adio" and "O Patria Mia". It is moments like those that make her a fine choice for Aida no matter what the critics say. Abbado, full-blooded Italian man, knows Verdi to a "t" and so his conducting of this opera is the most Italian we'll ever find. But still..look for other Aidas to make a judgement for yourself and it all boils down to personal choice. What sound do you like ? Leontyne Price: dramatic, dark, husky, smoky, brilliant high top, spiritual, African - as far as we know she IS Aida "my costume for Aida was my skin" said Price. Do you like Mirella Freni whose more Italianate, softer, more feminine, delicate but transcendent voice makes Aida appear like a kind of mythic princess of fable (same with Ricciarelli) or Caballe and Tebaldi, both supremely big voices, classically trained, rich and "clean" sounds or the eternally loved Maria Callas. Always Callas. Her Aida is dark, intense, primal, and she's not afraid of sounding ugly to get dramatic effect.



3. OK, I confess... I am an great admirer of Abbado and that is because he do mostly everything very professional but not "dull".

   You have always "new" interprets and more "steady" ones. This is a "staedy" one and thats not easy do that (sometimes I wonder if "new", radical versions depends on that the conductor cant read notes?:-)

   Anyway... I own the famous version from Muti (EMI) too and I like this one even better. Singing here is at nearly same level... (Caballe is good at Mutis version but so is Ricciarelli here)and at least is Domingo very good here again BUT music is def. better on this version in my opinion.

   And something about music that IS importent in Aida are of course the brass in the triumph-march. Brass at Mutis version sounds like a scared kitten compared to this even if it is well played too otherwise but you miss essential Aida/Verdi without the famous brass sound.

   This is an old, so called "to crystal claer CD" (it is not remastred), but sound is VERY good but I suggest DG remaster it anyway and put it on two discs instead on three and fix price but it is DEF: worth its full price if they dont so buy it if it goes out of print.

   Enjoy.




4. Esta versión de una de las más hermosas Operas que se hubieran compuesto, nos gusta sobre todo por el excelente trabajo de los solistas, todos están de primera, el bemol de la interpretación es que la orquesta y el coro no está a la misma altura de los solistas. Abbado no aprovecha todo el gran potencial que la partitura da a la orquesta y al coro.

   El resultado satisface, pero hay versiones mejores que tienen TODO.

   Versiones 5 estrellas: Muti (EMI), Karajan (EMI y DECCA), Toscanini (RCA), Solti (DECCA).




5. Deutsche Grammophone's 1981 La Scala AIDA was one of the first digital recordings of Verdi's masterpiece. Led by Claudio Abbado, then reigning at Italy's premier opera house, it is a beautifully dramatic reading, proportionately well paced and, for the most part, well sung. At full price, it's hard to recommend it as a first choice, but anyone interested in this opera won't want to be without it.

   In the men's and comprimario departments there isn't a weak link to be found. Domingo gives his best recorded account of Rhadames, with finer detail than in his previous outings with Leinsdorf and Muti but losing nothing of the power, molten tone and security he'd already displayed in the role. As for Leo Nucci, he isn't the best Amonasro I've heard, but there's nothing in his performance to complain about and much to admire. The Ramfis of Niccolai Ghiaurov has aged well and it's acutally this aging that gives his performance the edge over other recorded High Priests. It's the best version of the role to be found. Ruggero Raimondi's warm voice and commanding presence make a regal king of Egypt and it's a luxury to have him in a role usually reserved for less-distinguished singers. As for the smaller roles, Piero de Palma, always excellent, gives what would be his last recorded Messenger and Lucia Valentini-Terrani contributes an ethereal High Priestess.

   It's the vocal performances of the two leading ladies that are this jewel's flaw. Katia Ricciarelli possessed a golden voice, good looks,and the ability to project the drama through the text. Her vocal technique on the other hand was less than masterful. One gets the sense that someone saw her potential, wanted to be the one who could claim discovery, and therefore she was put before the public prematurely, a kind of exploitation that became highly visible in the 1970's and 80's as star singers became older or retired with no one to replace them. There are many moments in this particular recording that Ricciarelli is reminiscent of Montserrat Caballe, though she is minus Caballe's vocal freedom. Ricciarelli almost cruelly pushes her voice and many high notes come out as desperate, pressured squalls, especially when a fortissimo is required. On the positive side, in the middle and lower registers, Ricciarelli's singing is tender and delicate, creating a believably vulnerable Aida, and her way of putting just the right emphasis on key words makes one ache for what might have been had this artist been allowed to develop in her own time.

   For her part, mezzo-soprano Elena Obraztsova's Amneris has no problems cutting through the orchestra with her powerful, vinegary tone, although her method of vocal production gives her a disagreeably wide vibrato that at times obscures the pitch. There's nothing to carp about in her overtly dramatic performance, though I personally prefer the likes of Verrett, Simionato, and Cossotto. In the end, all of this is really a matter of taste, so there are most likely those who would have no objections to Obraztsova's performance.

   Finally, the sound quality is everything you'd expect from a digital recording, clear and accurate, if somewhat sterile and occasionally congested. The aural staging is effective, and the orchestra and chorus perform well under Abbado's able, inspired direction. In short, this really would have been an unbeatable performance had Ricciarelli and Obraztsova been stronger. As it is, there is much to enjoy here, and for those already acquainted with AIDA and looking for a fresh take on the opera, this is a good recording to acquire, though it would be even more irresistable at a lower price.

5 comments about Mozart: Die Zauberflöte / Janowitz, Gedda, Popp, Berry, Frick, Schwarzkopf, Ludwig; Klemperer.

1. There are a number of very good recordings of The Magic Flute. If you are not bothered by the missing dialog (after many years with this opera, I find myself impatient to get back to the music after two or three lines of the rather silly dialog), and if you do not object to the rather romantic approach to Mozart, which was so prevalent in the early to mid 20th century, this recording has no great flaws and numerous virtues.
   Klemperer's conducting is on the slow side; however this performance is more of an andante than his usual largo, and gives him ample opportunity to demonstrate his subtle and nuanced interpretation of the noble music. None of his singers is the best that has been recorded, but all are very good. Moreover, they seem to have abandoned (or overcome) the various flaws and mannerisms which mar some of their other recorded performances.
   Tamino has been recorded by a number of elegant singers (Wunderlich, Simoneau, Dermota, Haefliger, and Blochwitz). Nicolai Gedda, while not in their league, is still very good - singing with more legato and vibrancy than was freqently the case, while showing less effort and strain than in his later recordings. Walter Berry (as Papageno) has a warm, rich voice, and sings smoothly and with more nuance and style than was often his want.
   Wilma Lipp (The Queen of the Night) sings the notes beautifully; if she had shown some emotion, it would have resulted in an outstanding performance. Gundula Janowitz (as Pamina) was in excellent voice, and sings with feeling. Unfortunately, Klemperer really slows the tempo in her pieces, resulting in her sounding slightly uncomfortable.
   I have always been inordinately fond of Gottlob Frick's deep and sonorous voice. He was not an agile singer, and by 1964, his voice had lost some of its velvet; but he projects profound nobility, rectitude and integrity. His Sarastro is excelled only by those of Rene Pape and Alexander Kipnis.
   The lesser roles are sung by very fine to great singers: Schwarzkopf, Ludwig, Crass, Unger, and Giebel. The Philharmonia Orchestra and Chorus are excellent. The sound is not bad for EMI in 1964. If you want a fleet, historically informed Magic Flute in modern sound, look to Gardiner, Norrington (very fast) or Christie (not so fast). If you want a slow walk through some of the loveliest music every written, led by a fine German Romantic craftsman, with excellent (if somewhat dispassionate) singers - this is it. If you want a "not too romantic, not too historically informed" but very fine recording, try Abbado's.



2. The recent appearance of an excellent Magic Flute from Abbado (DG) prompted me to go back to two great favorites, this Klemperer set from 1964 and one from Karl Bohm made the same year for DG. Between them they included probably the greatest Mozart singers of the time in Europe. As listeners could hear immediately, the strengths of one cast were offset by the strengths of the other. Klemperer had the best women (Janowitz, Popp, Schwarzkopf, Ludwig) while Bohm had the two best men (Wunderlich and Fischer-Dieskau). For foty years fans of the opera have had to own both. Is that sitll the case?
   
   The new Abbado recording could represent a way out of this Solomon's choice, since it is filled with eager, accomplished singing in every part except for the well-sung but prosaic Papageno of Hanno Müller-Brachmann. Otherwise, I think I'd favor Klemperer if I had to choose only one classic set. The pluses and minuses are as follows:
   
   Klemperer: Always a good recording, the new remastering in EMI's Great Recordings of the CEntury is nearly perfect. This earlier version sounds almost as good, except for a bit of shrilliness in the upper registers. The Three Ladies are enchanting as led by Schwarzkopf and Ludwig. The young Lucia Popp is a scintillating Queen of the Night, and Gundula Janowitz a pure, if rather cool Pamina. Also, one cannot discount Gedda's Tamino and Berry's Papageno, which are very well sung if not the best on CD. For many listeners what tilts the balance is Klemperer's magnificent conducting--he may well have been the greatest Mozart conductor of the century. What may tilt the balance the ohter way is the absence of spoken dialog, a regrettable older practice in Mozart opera recordings.
   
   Bohm: Where Bohm's set is strongest it can't be beat: the once-in-a-lifetime Tamino of Fritz Wunderlich and the masterful, humorous Papageno of Fishcer-Dieskau. This, combined with Bohm's expert, if rather measured conducting, has won many listeners over. Unfortunately, Bohm's weaknesses are very weak: a too-old Pamina from Evelyn Lear that sounds unpleasantly insecure in tone and pitch, and a thin, shrieky Queen of the Night from Roberta Peters, well past her prime. If you can't overlook these two, then there's no need even to consider Bohm. Lots of dialog is included, and for once the echt Deutsch acting is funny.
   
   I wound up owning Abbado, KLemperer, and Bohm, but if you aren't so inclined, I'd say that Klemperer is indispensable and Abbado a gratifying, balanced compromise.



3. Make no mistake: Jim Endicott's illustration on the album cover of this recording of Die Zauberflöte is one of the finest in the history of recorded music. Roger Dean, illustrator of Yes album covers from the 1970s, would be pleased to see it. Fortunately, the music contained inside is equally inspired. Despite the stern admonition of one reviewer, who said this should not be one's introduction to the opera, I cast my lot in the name of fate and got it. My other choice was a recording by Karl Böhm, in which the male singers are legendary. I chose this recording because of Gundula Janowitz and Lucia Popp and found that the male cast is great as well. Those who prefer other recordings may be looking for spoken dialogue, digital recording, period instruments, or zippy tempos. What Klemperer gives us is music without the dialogue, romantic grandeur, and a fine singing cast. The analog sound from 1964 is more than fine. It's all a matter of preference; all I can tell you is that this is the recording for me. EMI has issued this recording in its line of "Great Recordings of the Century." You get the same music, wealth of information, and libretto inside. What's missing is the cool album cover.



4. Walter Legge (the producer of this recording) said to Klemperer that he had found a cast for his magic flute that was "as perfect as the world's resource could yield." Legge practically does this.
   This 1964 recording has everything going for it, starting with the overture, which Klemperer conducts incredibly well. the conducting throughout this, though stately and solemn, like most of Klemperer's work, is the best I've heard, living evidence that klemperer was by far one of the greatest mozart conductors.
   Klemperer's cast is just as superb. Nicolai Gedda is a great tamino. the real character of this opera is Papageno, sung by walter berry, one of the best Papagenos ever. A young Gandula Janowitz, not my favorite singer, by any means, is a beautiful pamina, probably her best recorded work...Lucia Popp is amazing as usual, rattling off high notes as if anyone could do it. Gottlob Frick is a solemn sarastro, just as is called for, though the role has been better sung.
   It's also great having a studio recording for a opera which has so many little roles...where else do you get schwarzkopf, christa ludwig, and marga hoffgen to sing the three ladies, or franz crass to double as the speaker and one of the guardsmen?
   Anyone who likes this opera should listen to this recording, for it is one of the best. Those looking for a complete magic flute should check elsewhere, for klemperer eschews the dialogue.



5. This is one of my favorite recordings of the Magic Flute. I like the slower tempos that Otto Klemperer employs. It adds grandeur to the music. Walter Berry is a great Papageno and proves his comic character, but tends grumble some of his roles. I wish the three boys were sung by boy trebles though. That would have made the recording more memorable. Gedda is still the Prince Tamino and is as good in this recording as he is on stage with his mellow voice. The duet with Papageno and Papagena would have sounded better at a faster pace. But the orchestration and rest of the cast are magnificent and creates the scenes of the opera very well. It also saves my review from falling one star below. I don't mind if the spoken dialogue is omitted. If you want want this to be your first Magic Flute, go for it!