Die Toten Augen - Complete Opera [Box set, Import]

Eugen d'Albert (Composer), Ralf Weikert (Conductor) | Format: Audio CD

Product Details

• Conductor: Ralf Weikert
• Composer: Eugen d'Albert
• Audio CD (October 6, 2000)
• Number of Discs: 2
• Format: Box set, Import
• Note on Boxed Sets: During shipping, discs in boxed sets occasionally become dislodged without damage. Please examine and play these discs. If you are not completely satisfied, we'll refund or replace your purchase.
• Label: Cpo Records
• ASIN: B000042OED
• Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
• Amazon Best Sellers Rank: #336,745 in Music (See Top 100 in Music)

Track Listings

Disc: 1

1. Prld: Intro - Dresdner Philharmonie/Ralf Weikert

2. Prld: 'Wir Schnitten Die Halme' - Olaf Bar/Lothar Odinius

3. Prld: 'Die Sonne Sinkt, Heimwarts Zieht Meine Herde.' - Lothar Odinius/Olaf Bar

4. Prld: 'Da, Sie Nur Die Prachtige Schar!' - Lothar Odinius/Olaf Bar/Cornelia Wosnitza

5. Prld: 'Mein Mantel! Mein Stab!' - Lothar Odinius/Olaf Bar

6. Action And Postlude: 'Heut Ist Der Tag' - Sabine Brohm/Cornelia Wosnitza/Barbara Hoene/Angela Liebold/Margaret Chalker

7. Action And Postlude: 'Die Sonne Ging Auf' - Dagmar Schellenberger/Hartmut Welker

8. Action And Postlude: 'Psyche Wandelt Durch Saulenhallen' - Dagmar Schellenberger/Hartmut Welker

9. Action And Postlude: 'Gruss, Dir, Arcesius!' - Norbert Orth/Hartmut Welker/Dagmar Schellenberger

10. Action And Postlude: 'Komm, Komm, Geliebter' - Dagmar Schellenberger/Hartmut Welker

See all 16 tracks on this disc

Disc: 2

1. Action And Postlude: ' - Dagmar Schellenberger/Margaret Chalker

2. Action And Postlude: 'Der Spiegel, Herrin' - Margaret Chalker/Dagmar Schellenberger/Barbara Hoene/Cornelia Wosnitza

3. Action And Postlude: 'Nun Bist Du Heim Bei Deinem Gluck' - Norbert Orth/Hartmut Welker/Margaret Chalker/Dagmar Schellenberger

4. Action And Postlude: 'Geliebter!' - Dagmar Schellenberger

5. Action And Postlude: 'Morder... Tier...' - Dagmar Schellenberger/Margaret Chalker

6. Action And Postlude: 'Was Tat Ich Nur?!' - Dagmar Schellenberger/Margaret Chalker

7. Action And Postlude: 'Erbarmt Euch, Grosse Gotter!' - Dagmar Schellenberger/Margaret Chalker

8. Action And Postlude: 'O War Ich Noch Das Unwissende Blinde Kind' - Dagmar Schellenberger

9. Action And Postlude: 'Myrtocle... Myrtocle...' - Hartmut Welker/Dagmar Schellenberger

10. Action And Postlude: 'Nein! O Warum Qualst Du Mich' - Dagmar Schellenberger/Hartmut Welker

Customer Reviews

Most Helpful Customer Reviews

16 of 16 people found the following review helpful:

5.0 out of 5 stars In praise of musical syncretism..., January 23, 2002

By 

Eric D. Anderson (South Bend, IN United States) - See all my reviews
(REAL NAME)   

This review is from: Die Toten Augen - Complete Opera (Audio CD)

I bought this set on the strength of a review, having never previously heard a note of d'Albert's music. It blew me away!! It perfectly represents that period in European music in which all the musical threads of Europe started to weave together into a heady mix of "ultra-romanticism". One can easily hear in "Toten Augen" the Wagner of Parsifal, the harmonies of Strauss, Debussian Impressionism, and the emotional punch of Puccini's verismo. Yet, despite it's diverse origins, it's idiom is direct and appealing, and my guess is that it would be far easier to perform than anything by Wagner or Strauss. The story is a real fin-de-siecle barnburner, and it's a mystery to me why opera companies world wide aren't rushing out to put this little jewel on their stages. Here's to musical syncretism!

4 of 4 people found the following review helpful:

5.0 out of 5 stars A fascinating work, October 30, 2010

By 

G.D. (Norway) - See all my reviews
(TOP 1000 REVIEWER)    (VINE VOICE)   

This review is from: Die Toten Augen - Complete Opera (Audio CD)

Eugen d'Albert's Tiefland may still survive at the fringes of the repertoire. His second most famous opera, Die Toten Augen, does not, even though some excerpts have been recorded as part of recitals (indeed, there is another recording of this work on Myto, which I have not heard). D'Albert's other operas seem to be more or less completely lost even though a recording of Die Abreise exists. In terms of musical quality, Die Toten Augen may, however, pip Tieflnd to the post, although I can see why opera companies would prefer the latter. Die Toten Augen is a Wagnerian (or even Straussian) score, opulently scored and with a mystical (sometimes ecstatic) atmosphere. The setting is Jerusalem on Palm Sunday; blind Myrtocle lives with her ugly husband Arcesius but is secretly loved by Galba. When Jesus passes through, Myrtocle's blindness is cured, she mistakes Galba for her husband and Arcesius kills Galba in a fit of rage, whereupon Myrtocle stares into the sun until she goes blind again. A pretty grisly though undeniably effective tale, and the music is quite haunting with a wealth memorable passages and thrilling climaxes. I honestly cannot see why it should fail to do pretty well on stage even today.

The performances are overall good. Dagmar Schellenberger has no problems navigating the technical demands and if her voice is sometimes a little edgy it is mostly thoroughly beautiful and radiant - this is, make no mistake, a really strong performance and suggests that Schellenberger would succeed very well in major roles in famous operas at big opera houses. Hartmut Welker does a fine job of Arcesius, and Lothar Odinus is superb as the shepherd. Although Norbert Orth's Galba is more dramatically effective than beautifully sung the result is quite effective. The other, relatively minor characters are all very satisfyingly done. The Dresdner Philharmonic's performances are spirited, lush and colorful, and Ralf Weikert secures a well-paced, dramatically intense performance. Perhaps this is, overall, a fascinating work more than a masterpiece, but it is surely worth the time and outlay - it is strongly recommended, even - for anyone who appreciates late romantic Wagnerian opera. Maybe five stars instead of four reflects my appreciation of taking on this kind of project more than the opera itself, but I think I can defend it.