Edith Mathis, Donald Grobe, Barry McDaniel, Loren Driscoll,Vera Little, Lisa Otto, Ernst Krukowski, Ivan Sardi, Helmut Krebs, Manfred Röhrl, Bella Jasper, Margarete Ast, Otto Graf, Charles Williams, Günther Altenburg & Leopold Klam
Chorus and Orchestra of Deutsche Oper Berlin, Christoph Dohnányi (conductor) & Gustav Rudolph Sellner (stage and direction)
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Henze composed his comic opera Der Junge Lord at the height of his career, to a libretto by his close friend author Ingeborg Bachmann.The world première at Berlin's Deutsche Oper in 1965 under the baton of Christoph von Dohnányi caused a sensation and the opera was widely performed all over Europe. Parts of it were also brought to stage at the Komische Oper in former East Berlin, prompting the composer to write to his librettist: "I can't tell you how much I admired the two of us that evening, especially you, whose text could be understood, word for word." This 1968 recording features the original team of conductor and stage designer in an opulent setting at Berlin's Deutsche Oper. Der junge Lord - based on the fairy tale "The Ape as a Man" by Wilhelm Hauff - tells how a whole town is deceived into taking a dressed monkey as a young lord. In style and plot it owes much to Italian opera buffa but also features some Brechtian influences in the treatment of the story.The work has 25 solo singing parts, including the charming Edith Mathis as Luise, a role that was to define the beginning of her career.This DVD allows the viewer not just to relive an entertaining opera production but to share a milestone in Henze's brilliant career.
"Today's most venerable composer for the theater" International Herald Tribune
“…this is a superb line-up, well marshalled by conductor Christoph von Dohnáyi who gets plenty of incisiveness in the skewed neo-classical idiom soon submerged in post-Romantic chaos.”
“Ernst Wild's film (originally made for Unitel) documents the premiere production, at the Deutsche Oper Berlin: one which was faithful to the 1830 setting… DG took all the musicians into the studio a couple of years later and, alas, this is what you hear: one ideally clear musical realisation tangled up with a no less professional set of pictures. As our deceived and deluded heroine, Edith Mathis is as wonderful to see as to hear, but somehow not at the same time.”