Customer Reviews

Great Recordings Of The Century: Elisabeth Schwarzkopf Sings Operetta Arias

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I remember the first time I put this record on with a lawyer friend of mine . It was in the good old LP days. We were absolutely stunned by it 's exquisite beauty . It left us totally speechless for quite a while.Of course we knew Dame Schwarzkop 's many opera recordings and the Bayreuth '51 Beethoven 9th ( Furtwängler ) etc. But to listen to her in this material ( and "Fledermaus " ) was a revelation. Never to be forgotten. By the way , I have read interviews , where singers say it being more difficult to sing " Die Fledermaus " than it is to sing Wagner!

Elisabeth Schwarzkopf was the leading German lyric soprano of her time directly after World War II- the 50's and 60's. Her Marschallin from Strauss' Der Rosenkavalier is unbeaten and the definative best interpretation. This recording features her singing comfortably in the language she knew best, German, in arias from Vienna light operas. There is so much class and elegance, combined with charming warmth and beauty to the singing voice of Schwarzkopff. Another treasure to hear and a great complimentary addition to this album is Schwarzkopf singing German Lieder. Her diction was perfect, her melodic lines bubbly with sincere human warmth. In this album, I think you'll like the opening aria "Im Chambre Separee" from Der Opernball. There is a uniquely French sound to the aria and to Schwarzkopf's rendition, that has sophistication and European aestheticism written all over it. The other arias are beautiful to listen to as well, including the arias from Der Zarewitsch, Grafin Dubarry, Graf Von Luxemburg, Boccacio and Giuditta.

Naturally, since this is taken from the original Long Playing album record, it sounds very old fashioned and dated. I did'nt hear any scratches or disruptions, so for the most part it's highly enjoyable and lovingly remastered for a cd. Schwarzkopf classic voice does seem to fit more suitably on the LP of a phonograph in a stylish salon in Paris or Vienna. I can imagine when she was singing in person and recording these albums, people were goo-ga ga over her. But even if you don't own a record player and you are up to date with the latest sound system technology, this will bring you back to the days when people crowded around parlors,either to their radios or phonographs and had conversations and drank champagne in genuine taste and good cheer. This will definately want to make you drink some fine champagne.

If you love exuberant melody, you'll love this album. It's a pity this music isn't sung more often now. Schwarzkopf's voice is glorious, and the selection of pieces is terrific.

Elisabeth Schwarzkopf, the most talented and accomplished soprano of her generation, delivers a rich feast of operetta treats on this wonderful album. This recording features arias from seldom-heard or recorded composers (namely Heuberger, Zeller and Millocker), as well as pieces from Lehar and Strauss II. Schwarzkopf was in the prime of her vocal condition here, and easily commands the material.

Schwarzkopf made her name in the Lieder and dramatic operas, but it's marvelous to hear how she sparkles and glitters on this album. Highlights include "Einer wird kommen" (from "Der Zarewitsch"); and "Heut' noch werd' ich Ehefrau" (from "Der Graf von Luxemburg"). There's also a lovely rendering of "Meine Lippen..." (from Lehar's oft-forgotten "Giuditta" score).

This album has been newly-remastered using Abbey Road's Prism SNS Noise-Shaping System, which blends the vocals of Schwarzkopf and the orchestra to create a crisp, clear soundscape, free from analogue distortion and other inherent recording problems. This album was originally recorded at the Kingsway Hall in 1957, but sounds as fresh as a daisy here.

As my fellow reviewer - Rudy Avila - has keenly noted, this album has a perfect companion in Schwarzkopf's disc Strauss: Four Last Songs/12 Orchestral Songs.

[EMI Classics 7243 5 67004 2 0]

For those with a musical sweet tooth, this is the sweetest, richest collection of bon-bons imaginable. Schwarzkopf's singing is without parallel, and this is in my opinion the finest operetta recital disc available.

THIS ALBUM IS ALL ABOUT BEAUTIFUL MELODIES WITH LUSH ORCHESTRATIONS...AND THAT VOICE...HOW BEAUTIFUL AND HOW CAREFUL AND RESPECTFUL SHE IS WITH THIS ART FORM. IF YOU ARE TIRED OF THREE NOTE MUSIC PASSED OFF AS MELODY RUSH TO GET THIS ALBUM...WHAT AN ANTIDOTE TO TIRED SINGING, TIRED SIMPLE MELODIES AND CHINTZY ACCOMPANIMENTS!

Every reviewer has sung the glories of this one-off operetta recital that Schwarzkopf executed to perfection in the summer of 1957. She was to have triumphs just as great in Rosenkavalier, Falstaff, Don Giovanni, Cosi fan tutte, and Nozze di Figaro around the same time, but this recording holds a special place for its enduring smile. It hasn't been out of print -- or reduced in price -- for 52 years. I think only Callas's solo recitals can boast the same. All the more miraculous is that Schwarzkopf didn't sing this repertoire except for the microphone. Her legendary Merry Widow, for example, both the mono and stereo versions, are immensely theatrical even though Hanna was never a role she undertook on stage, either. (Callas can claim the same in Carmen.)

I must confess that I have never been able to listen to this CD without tears in my eyes and a shiver up my spine. I wonder at the transformative power of music, since Schwarzkopf emrged from the war as an iron-willed, totally disciplined artist with dubious political standing, yet within the span of a few years she became the lustrous, knowing, vivacious singer we hear on countless recordings. Enough. To hear this CD for the first time is an experiene I wish I could repeat again, forty years later.

P.S. - If you own an earlier CD incarnation and wonder if EMI's latest remastering has removed all the obvious microphone distortions from the original, the answer, sadly, is no. But things are improved, certainly.

This is one of my favorites. Schwartzkopf voice is a stunning and it clear that she has perfected her art. I was so pleased when I bought it and played it for my friends. My favorites are the nun's chorus and Laura's song and Sie nicht bos. You will enjoy this delightful recording.

Elisabeth Scwarzkopf is famous of her performance of Mozart's Countessa or Fiordiligi, Richard Strauss' Marschallin, etc. So I can't imagine how she can sing opera as well as operetta arias. But in this album, she can sing operetta arias very beautifully! Her technique is too perfect to sing them. I think it is natural that they re-release this one as "Great Recording of the Century". My favorite track is the final track, "Wien, du Stadt meiner Traume". If you want to hear some of operetta arias for the first time, this one is good for you. You can enjoy the enchantment of operettas. Anyway, you must buy it at once and put it on your CD player!

Even those who usually find Schwarzkopf's style cold and overdetermined will be beguiled by the many charms of this recording. Her obvious emotional connection to the music glows in every line, lending intense color to an already lovely selection of pieces, and her technique is dazzling as always (just listen to that extended trill in "Was ich im Leben beginne"!). You may well be tempted, as I was, to play this disc over and over again, leaving your CD player red-hot and malleable. A great choice for Valentine's Day!