Dvorák: Rusalka [Import]

Antonin Dvorak (Composer), Peter Schneider (Conductor), Düsseldorfer Symphoniker (Orchestra), Brigitte Dürrler (Performer), Gwynn Cornell (Performer), Hana Janku (Performer), Hildegard Behrens (Performer), Keiko Yano (Performer), Malcolm Smith (Performer), Patricia Parker (Performer), Peter-Christoph Runge (Performer), Reingard Didusch (Performer), Robert Hoyem (Performer), Werner Gotz (Performer) | Format: Audio CD

Product Details

• Performer: Brigitte Dürrler, Gwynn Cornell, Hana Janku, Hildegard Behrens, Keiko Yano, et al.
• Orchestra: Düsseldorfer Symphoniker
• Conductor: Peter Schneider
• Composer: Antonin Dvorak
• Audio CD (January 24, 2006)
• Number of Discs: 2
• Format: Import
• Label: Gala
• ASIN: B000DZV8K8
• Average Customer Review: 3.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #125,057 in Music (See Top 100 in Music)

Track Listings

Disc: 1

1. Rusalka, opera, B. 203 (Op. 114): Act 1. Ouvertüre

2. Rusalka, opera, B. 203 (Op. 114): Act 1. Hei-ja he

3. Rusalka, opera, B. 203 (Op. 114): Act 1. Wassermännchen, Väterlein!

4. Rusalka, opera, B. 203 (Op. 114): Act 1. Oft kommt er her zu mir

5. Rusalka, opera, B. 203 (Op. 114): Act 1. Silberner Mond du am Himmelszelt

6. Rusalka, opera, B. 203 (Op. 114): Act 1. Deiner ew'gen Weisheit Licht

7. Rusalka, opera, B. 203 (Op. 114): Act 1. Abra, cabra, fort

8. Rusalka, opera, B. 203 (Op. 114): Act 1. Hier sah ich es, doch leider schwand es bald!

9. Rusalka, opera, B. 203 (Op. 114): Act 1. Das Jagen lasst nun, geht zurück aufs Schloss

10. Rusalka, opera, B. 203 (Op. 114): Act 1. Du bist ein Trugbild, das entschwindet

See all 13 tracks on this disc

Disc: 2

1. Rusalka, opera, B. 203 (Op. 114): Act 2. Wehe! Wehe! Wehe dir, Rusalka, wehe!

2. Rusalka, opera, B. 203 (Op. 114): Act 2. Blümelein weiss am Wegesrand

3. Rusalka, opera, B. 203 (Op. 114): Act 2. Rusalka, kennst du mich?

4. Rusalka, opera, B. 203 (Op. 114): Act 2. Euch glüht im Aug' ein selstam' Feuer

5. Rusalka, opera, B. 203 (Op. 114): Act 3. Fühllos für all' meine Schmerzen

6. Rusalka, opera, B. 203 (Op. 114): Act 3. Ei, ei! Mein Nixlein schon zurück?

7. Rusalka, opera, B. 203 (Op. 114): Act 3. Ewig gestürtz in Leid

8. Rusalka, opera, B. 203 (Op. 114): Act 3. Wie, du zitterst?

9. Rusalka, opera, B. 203 (Op. 114): Act 3. Mein, Goldhaar es ist mein

10. Rusalka, opera, B. 203 (Op. 114): Act 3. O, mein weisses Rehlein!

See all 11 tracks on this disc

Customer Reviews

Most Helpful Customer Reviews

2 of 4 people found the following review helpful:

3.0 out of 5 stars Yes, add it to one's Rusalka collection, but note..., July 3, 2006

By 

John Bonavia (Needham, MA USA) - See all my reviews
(VINE VOICE)    (REAL NAME)   

Amazon Verified Purchase

This review is from: Dvorák: Rusalka (Audio CD)

This is based on only a partial hearing, but I wanted to register a few key notes about this less-known version of Rusalka, with some information that is not apparent from a quick scan of the Amazon listing.

First, I hadn't realized that this one is sung in German - I know the atmospheric harmony of words and music could be an important issue for some people, and certainly I do miss that wonderful word "mesicku" in the famous Song to the Moon.

Second, it's a recording of a live performance in Düsseldorf in 1975. But the audience are very good - minimal coughing or distractions (those were the days!)

The CDs were made in Portugal and somehow, CD1 got labeled as CD2 and vice versa, at least on my copy. Not a problem once you realize - which happens pretty quick.

The performers highlighted on Amazon for some reason don't include Rusalka herself: no less a voice than Hildegard Behrens, in this early part of her career(though the CD cover has the listing).

Now, with all that settled, what about the music?

I think it will not prove to be my most favored version, but to me all Rusalkas are welcome!

The Düsseldorfer Symphoniker do a very good job under Peter Schneider, if he does sometimes move them somewhat towards a more robust Wagnerian interpretation, away from a Slav melancholy. This was also what struck me about Behrens' interpretation. This water spirit is more of a raw elemental - there is a latent power there, one that could even be feared, and this energy works against the story's depiction of a yearning waif. Would it be to much to say that one can already hear Brunnhilde? I'd like to know what others think. In some ways a tension like this is true to the general legend of Undines and all water-dwellers: I grew up in Scotland and always thought the water-kelpie was s really scary concept. Perhaps it makes it more dramatic that one of them could so be so overcome by mortal-style desires.

The Song to the Moon is taken a little slower than usual - possibly increasing drama at the expense of lyricism?

I write this as I am listening, now at the end of the first act, and am very impressed with the Prince, Werner Goetz: I must look for some other recordings of his.