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Kapellmeister Edition, Vol. 5
Hermann Prey (baritone), Hilde Guden (soprano), Anneliese Rothenberger (soprano), Walter Berry (baritone), Edith Mathis (soprano), Annelies Burmeister (alto), Peter Schreier (tenor), Jurgen Forster (tenor), Fritz Ollendorff (bass), Siegfried Vogel (bass), Rosemarie Ronisch (soprano), Hermi Ambros (soprano), Friederike Apelt (mezzo-soprano), Walter Olbertz (harpsichord), Gunther Leib (baritone), Anny Schlemm (soprano), Fred Teschler (bass), Ruth Lange (alto), Harald Neukirch (tenor), Rolf Apreck (tenor), Theo Adam (bass), Hermann Christian Polster (bass), Hans-Joachim Ketelsen (baritone), Siegfried Lorenz (baritone), Reiner Suss (bass), Fritz Hubner (bass), Henno Garduhn (tenor), Gunter Kurth (tenor), Joachim Arndt (tenor), Bernd Zettisch (baritone), Horst Gebhardt (tenor), Gerd Wolf (bass), Ekkehard Wlaschiha (bass), Fritz Heidan (bass), Walter Naveau (bass), Roman Trekel (baritone), Elvira Dressen (mezzo-soprano), Carola Nossek (soprano), Rosemarie Lang (mezzo-soprano), Olaf Bar (baritone), Peter Menzel (tenor), Dario Suss (bass), Andreas Schmidt (tenor), Brigitte Eisenfeld (soprano), Margot Stejskal (soprano), Adelheid Vogel (soprano), Uta Priew (mezzo-soprano), Helmut Oertel (organ), Juliane Koren (narrator), Frank Lienert (narrator), Gunther Leib (bass)
Dresden State Opera Chorus, Dresden Staatskapelle, Berlin Staatskapelle, Berlin Deutsche Staatsoper Chorus, Otmar Suitner
Elfrun Gabriel (piano), Dieter Zechlin (piano), Enrico Casazza (violin), Andreas Pistorius (piano), Peter Arne Rohde (piano), Egon Morbitzer (violin), Siegfried Stockigt (piano), Norman Shetler (piano), Rolf-Dieter Arens (piano), Jan Vogler (cello), Bruno Canino (piano), Guher Pekinel (piano), Suher Pekinel (piano), Thomas Zehetmair (violin), Hakon Austbo (piano), Annerose Schmidt (piano), Peter Rosel (piano), Jutta Czapski (piano)
Berlin Staatskapelle, Rundfunk-Sinfonieorchester Berlin, Dresden Philharmonic Orchestra, Magnifica Comunita, La, Dresden Staatskapelle, Berlin Radio Music Orchestra, Berlin Deutsche Staatsoper Chorus, Berlin Chamber Orchestra, Leipzig Gewandhaus Orchestra, Gunther Herbig, Heinz Rogner, Jorg-Peter Weigle, Pieter-Jan Belder, Herbert Blomstedt, Otmar Suitner, Helmut Koch, Vaclav Neumann, Gerhard Wiesenhutter, Howard Griffiths, Robert Hanell, Hartmut Haenchen, Kurt Masur, Claus Peter Flor, Herbert Kegel, Paavo
One of the greatest and most revolutionary composers of the nineteenth century, Richard Wagner transformed the realm of musical drama. Years before his towering successes of the Ring Cycle, Tristan und Isolde and Die Meistersinger von Nürnberg, he wrote the now lesser‐performed The Flying Dutchman, an opera that marks the beginning of Wagner’s mature works.
The opera – premiered in Dresden in 1843 – is based on Heinrich Heine’s telling of the legend in which the captain of a ghostly vessel, The Flying Dutchman, is doomed to roam the seas for all eternity until he wins the love of a woman. The fate of the Dutchman is said to have struck Wagner as a mirror image of his own disastrous fate in Paris; having expected the city to hail him as a genius, he was left bitterly disappointed. From the outset, the overture depicts the vast expanse of the rolling sea and hints at the despair that is to come, while weaving together other leitmotifs that will reoccur later in the work.
Other highlights include Senta’s heartfelt ballad from Act II, the Dutchman’s soliloquy ‘Die Frist ist um’ and the raucous shanty that is the Sailors’ Chorus. The role of the Dutchman is sung by legendary lyric baritone Dietrich Fischer‐ Dieskau, described by The Guardian as ‘the most influential singer of the 20th century’. Playing his love interest, Senta, is Marianne Schech, while Gottlob Frick takes the role of her father. The soloists are supported by the Chor der deutschen Staatsoper Berlin and the Staatskapelle Berlin, conducted by Franz Konwitschny.
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recorded on 11th October 1960 at the Deutsche Staatsoper Berlin
sung in German
Superb sound. A legendary cast with the young Ludmilla Dvorakova and Rudolf Jedlicka, a student of Tino Pattiera, Pavel Ludikar and Fernando Carpi, is heard to great advantage. Highly recommended under the magnificent Konwitschy – first release on any format.
”Almost forgotten a generation after his death, Franz Konwitschny, director of both the Gewandhaus Orchestra in Leipzig and the Berlin State Opera from 1949 until his death in 1962, was much the finest and by far the most successful East German conductor of his time. Konwitschny didn't seek to match the glamour of Herbert von Karajan, his West German opposite; he was interested in something else entirely. Born in 1901 at the height of German romantic idealism, Konwitschny came of age in the milieu of post-War modernism, and in his maturity the one influence tempered the other so that the classic Konwitschny performances were clean and lucid but enormously concentrated and unbearably intense. For latter-day [listeners] who know best Karajan's more charismatic recordings, Konwitschny…will clear the mind, cleanse the palette and sooth the spirit.” James Leonard, allmusic.com
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Verdi auf Deutsch: La Traviata
Various Artists, Melitta Muszely (boy soprano), Orchester der Deutschen Staatsoper Berlin/Wilhelm Schüchter, Wilhelm Schüchter (featured vocalist), Fritz Ganss (produced & engineered by), Horst Lindner (tonmeister), Wilhelm Schuechter (featured vocalist), Francesco Maria Piave (librettist), Rudolf Schock (vocals), Walter Stoll (featured vocalist), Walter Stoll (bass), Fritz Ganss (producer), Orchester der Deutschen Staatsoper Berlin (featured vocalist), Chor Der Deutschen Staatsoper (featured vocalist), Manfred Schmidt (tenor vocals), Josef Metternich (bass), Anneliese Müller (vocals), Anneliese Müller (mezzo-soprano vocals), Melitta Muszely (soprano vocals), Josef Metternich (featured vocalist), Wilhelm Lang (bass), Chor der deutschen Staatsoper (chorus), Karl Christian Kohn (featured vocalist), Karl Christian Kohn (bass), Wilhelm Lang (featured vocalist), Melitta Muszely /Chor Der Deutschen Staatsoper/Orchester der Deutschen Staatsoper Berlin/Wilhelm Schüchter/Rudolf Schock, Melitta Muszely /Manfred Schmidt /Chor Der Deutschen Staatsoper/Orchester der Deutschen Staatsoper Berlin/Wilhelm Schüchter/Rudolf Schock, Melitta Muszely /Orchester der Deutschen Staatsoper Berlin/Wilhelm Schüchter/Rudolf Schock, Melitta Muszely /Orchester der Deutschen Staatsoper Berlin/Wilhelm Schüchter, Orchester der Deutschen Staatsoper Berlin/Wilhelm Schüchter/Rudolf Schock, Melitta Muszely /Josef Metternich/Orchester der Deutschen Staatsoper Berlin/Wilhelm Schüchter, Josef Metternich/Orchester der Deutschen Staatsoper Berlin/Wilhelm Schüchter, Melitta Muszely /Anneliese Müller/Karl Christian Kohn/Manfred Schmidt /Josef Metternich/Wilhelm Lang/Chor Der Deutschen Staatsoper/Orchester der Deutschen Staatsoper Berlin/Wilhelm Schüchter/Rudolf Schock/Walter Stoll, Elisabeth Schwarzkopf/Rolando Panerai/Philharmonia Orchestra/Alceo Galliera, Walter Legge (producer), Elisabeth Schwarzkopf (boy soprano), Rolando Panerai (bass-baritone), Walter Legge (produced by), Alceo Galliera (lead vocals), Elisabeth Schwarzkopf (lead vocals), Elisabeth Schwarzkopf (soprano vocals), Rolando Panerai (lead vocals), Rolando Panerai (vocals), Philharmonia Orchestra (lead vocals)
Orchester der Deutschen Staatsoper Berlin, Chor Der Deutschen Staatsoper, Philharmonia Orchestra, Wilhelm Schüchter, Wilhelm Schuechter, Alceo Galliera
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Oeser edition as used in Vienna (1964) (Vienna timing is 149')
EMI Classics's studio opera recording of Bizet's Carmen marks the 10th anniversary of the artistic 'dream-team' partnership of Sir Simon Rattle and the Berliner Philharmoniker. Carmen is by far the most popular French opera and this recording is boasting a stellar cast with Magdalena Kožená in the title role and Jonas Kaufmann as Don José.
Read Presto's complete review of this disc here.
“The Berlin Philharmonic bring an intensified drama to the score without becoming weighty...theatricality is everywhere here, in what is one of the best-played Carmen recordings on disc...I'm glad [Kozena's Carmen] is recorded if only because it shows how beautifully the role can be sung while remaining largely convincing...What life and imagination [Kaufmann] brings to every phrase.” Gramophone Magazine, September 2012
“There’s much to enjoy. Never an opera specialist, Rattle digs out details that other maestros let slumber. The high-speed energy is infectious; and the microphones keep the orchestral sound lovely...Rattle offers Carmen the gorgeous symphonic experience” The Times, 17th August 2012 ***
“this studio recording of Bizet’s opera compels attention for a variety of reasons...[Rattle and Kozena] stress their wish to return to the “chamber feeling” of the French tradition into which the work was born, rather than the “grand opera” tradition in which it is routinely draped.” Financial Times, 18th August 2012 ***
“Kozena and Jonas Kaufmann are perfectly matched in the lead roles, bringing a persuasive emotional chemistry to Carmen and Don Jose’s doomed affair...the support of minor roles and choir is exceptional, particularly the enchanting urchins’ chorus provided by the Kinderchor der Deutschen Staatsoper Berlin.” The Independent, 18th August 2012 *****
“what is pleasantly surprising is the success of Magdalena Kozená in the title role, which she presents as a convincingly cool and intelligent Carmen of real dignity and complex feelings...the Berlin Philharmonic lets down its hair and plays for Rattle with magnificent abandon. If you are tired of Carmen or think you know the score backwards, here is a performance to make you fall in love with it all over again.” The Telegraph, 24th August 2012 *****
“Rattle’s Berliners offer a dynamic Vorsprung durch Technik Carmen...[Kozena] is a subtle, intelligent singer with not-bad French, but she never convincingly suggests she is inside the skin of the part, and sounds ill-matched to Jonas Kaufmann’s unhinged, fearsomely intense José in their final confrontation. The German tenor is the main reason for acquiring this set” Sunday Times, 26th August 2012
“[Kožená] is an intelligent Carmen, self-assured and self-determining, though you can't escape the facts that her voice sounds small and that the role, in places, is simply too low. The main reason to listen to the set is Jonas Kaufmann's beautifully sung, wonderfully perceptive José. The glamour in his tone is perfect, and so too are the hints early on of the nervous moodiness that will gradually become pathological” The Guardian, 13th September 2012 ***
“[Kozena] brings something compelling and exciting to her portrayal of the amoral gypsy... In many ways [Kaufmann's] dark, sexy tenor evokes the Mediterranean colour that Kožená avoids...Be in no doubt, however, that if there is a star in this recording then it is the man on the podium. Rattle’s reading of the score bristles with vitality and his vision brings the Berlin Philharmonic to life in a way that few other orchestras could manage for this opera, especially on disc” MusicWeb International, August 2012
“no other recording brings out the crazily mismatched chemistry of the lovers to the same degree: it sounds as if the protagonists from an opera comique and a grand opera have been thrown together by some twist of fate....a refreshing, unhackneyed take on an opera which has been weighed down with clichés over the decades.” Katherine Cooper, Presto Classical, 20th August 2012
Presto Disc of the Week
20th August 2012
Various Artists, Peter Seiffert (tenor vocals), Jane Eaglen (soprano vocals), Rolando Villazon (tenor vocals), Daniel Barenboim, Felicity Palmer (mezzo-soprano vocals), Chor der Deutschen Staatsoper Berlin (chorus), René Pape (bass vocals), Marjana Lipovsek (mezzo-soprano vocals), Waltraud Meier (soprano vocals), Poul Elming (tenor vocals), Nadine Secunde (soprano vocals), Waltraud Meier (mezzo-soprano vocals), Anne Evans (soprano vocals), Philip Kang (bass vocals), Siegfried Jerusalem (tenor vocals), Kurt Schreibmayer (tenor vocals), Cornelius Hauptmann (bass vocals)
Chicago Symphony Orchestra, Berliner Philharmoniker, Staatskapelle Berlin, Berlin Philharmonic Orchestra, Bayreuth Festival Orchestra, Daniel Barenboim, Daniel Borenboim
Various Artists, Pierre-Laurent Aimard (piano), Maxim Vengerov (violin), Thomas Zehetmair (solo violin), Pierre-Laurent Aimard (solo piano), Clemens Hagen (solo cello), Vermeer Quartet (string quartet), Jean-Bernard Pommier (piano), Rudolf Buchbinder (piano), Itamar Golan (piano), Vermeer Quartet (additional musicians), Staatskapelle Chor (chorus), Werner Güra (tenor vocals), Waltraud Meier (mezzo-soprano vocals), Soile Isokoski (soprano vocals), René Pape (bass vocals), Falk Struckmann (baritone vocals), Chor der Deutschen Staatsoper Berlin (chorus), Daniel Barenboim (piano), Alexander Markovich (piano), Arnold Schönberg Chor (chorus)
Chamber Orchestra of Europe, The Chamber Orchestra Of Europe, Staatskapelle Berlin, Nikolaus Harnoncourt, Daniel Barenboim