Customer Reviews

J. Strauss - Die Fledermaus / Varady, Popp, Prey, Rebroff, Kollo, Weikl, Bayerischen Staatsorchester, Kleiber

5 star:		(7)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

The most important aspect of this recording is Kleiber's conducting. His records are so few (three other operas and about a half-dozen symphonic recordings) that even if this set was seriously flawed, it could not be ignored. Fortunately, his conducting mostly captures the spirit of the score, even if there is an emphasis on discipline here that is not apparent in other, Vienna-based recordings of this opera (this set was recorded in Munich, in the legendary Herkules-Saal of the Residenz palace). With one major exception, the cast could hardly be bettered. In particular, the scandalously underrated Julia Varady is outstanding as Rosalinde - and how nice to have a native Hungarian singing the czardas solo in Act II! Similarly, the late Lucia Popp is an inspired choice as Adele. The male lineup (Rene Kollo, Hermann Prey, and Bernd Weikl) is also quite good. The big shortcoming is the casting of the falsetto Iwan Rebroff as Prince Orlofsky. Those coming to this opera anew will probably find his performance amusing, but those who have heard Brigitte Fassbaender on either the Previn or the Boskovsky sets can attest to how much better it is to have a firm mezzo-soprano in this role. The remastered recording is full and well-balanced. Unlike many Deutsche Grammophon recordings of German opera from the 1970s, the star singers, and not actors, are used to speak the dialogue. The set includes two booklets fit into a standard double jewel box. The summary and libretto (with translation) are beyond reproach; unfortunately, as with many reissues in the DG Originals series, the essay concentrates on the performer at the expense of a discussion of the work itself. The mid-price is a big advantage of this set. Choice here lies largely between this recording, Previn, and Boskovsky.

Carlos Kleiber can be a very difficult man on the podium, but here he is in high spirits and conducts a masterful performance. It's both fiery and fun, but never hard driven. He is lucky to have 2 glorious sopranos in Julia Varady and Lucia Popp who are peerless as Rosalinde and Adele. Varady in particular gives a ravishing performance with commanding vocal security, no other soprano even comes close, not Schwarzkopf, not Gueden and certainly not Te Kanawa. I guess Iwan Rebroff is an acquired taste, personally, I think he is fun and does a very good job. The Munich orchestra is excellent and so is the sound. The Karajan/Decca set with the famous gala is pleasing too, but after listening to this set for 20 years, it is my favourite.

Recorded in 1975, this recording of Johann Strauss's most famous comic opera, "Die Fledermaus", is top notch, from Carlos Kleiber's golden years as a conductor. Carlos Kleiber (1930-2004) made few studio recordings, so this is very important. But he did have favorite works he recorded in the studio: this "Die Fledermaus", Weber's "Die Freischutz" (1973), Verdi's "La Traviata" (1976), and Wagner's "Tristan und Isolde" (1981), all for Deutsche Grammophon. Kleiber has a superb cast, with Hermann Prey, Julia Varady, and Bernd Weikl in the leading roles. Kleiber favors fast tempos, keeping the flow and motion of the opera moving along, but he knows where to take time when there is a tempo change or for a slower tempo aria.

The sound is very clear, but the bass sounds a little weak, often typical with DG recordings, so a loudness boost may be necessary on some systems. There is spoken dialogue aplenty between numbers, but it is never too much, nor does the overall architecture of the opera sag under it's own weight, often a danger in singspiel operas, where there is alot of spoken dialogue.

I also reviewed Kleiber's DVD "Fledermaus", from 1987 (DG DVD) and this recording has much in common with the later live production with the same orchestra: Bavarian State Opera, but mostly different soloists. I personally prefer Hermann Prey as Eisenstein to Eberhard Waechter; Prey's voice seems more mellow, and he sounds more musical to me than Waechter. However, a direct comparison is hard because this is a STUDIO recording, and the DVD is LIVE.

Whichever Kleiber "Fledermaus" you purchase, you can't go wrong. It all boils down to personal preferences, and if you want an audio (this recording) or DVD format for Strauss's great comic opera.

All too often, Die Fledermaus is trivialized like many operettas and is therefore performed with less vocal mastery and devotion than it deserves. This recording is the precise opposite of that statement. From the first bars of the overture to the rousing finale, this Fledermaus sparkles brightly. Lucia Popp is the most amazing Adele that one could hope for, executing her aria about being on the stage with a dazzling coloratura. It is unusual to have a baritone cast as von Eisenstein, however, if anyone can pull it off, Hermann Prey is the man for the job. He gives a jovial air of Vienna to the entire work which is truly charming. Ivan Rebroff's Prinz Orlovsky is thoroughly silly, as is appropriate, and much more satisfying that having it played as a pants role. The chorus numbers are boisterous, and the dances (including a knockout "Donner und Blitz" polka) will make you get up from even your most comfortable armchair.

I cannot say much more than Tom from Brandeis University. This is a wonderful recording.

Let's do a little shopping comparison though, shall we?

First, the version with Te Kanawa, Brendel, Fassbaender, Gruberova et al. This is a very good version, but with some exceptions though. There are added sound effects such as people laughing, partying, clinking glasses, etc. To some, this detracts from the recording. I think it's fine though. But, my main reservation is Edita Gruberova. If you like her, you'll love the recording... hands down. For me though, I can't stand her singing coloratura for which the role of Adele demands. And that is the main reason why I can't force myself to get this recording. However, Dame Kiri is wonderful in the role of von Eisenstein's wife and does a superb job. The other singers do a fine job as well. Andre Previn and the Vienna Philharmonic speak for themselves... world-class. However, my main reservation again is Gruberova. If you've never heard her... I advise you to stay away from this recording. A final note: It's 30+ dollars.

Second is the recording with Karajan, Schwarzkopf, Gedda, Streich, et al. Although I haven't heard anything from this recording, I do know it was recorded in the 50's and the sound is not quite up to par. Streich as I understand it, is playing the role of Adele, which at least guarantees us that Schwarzkopf won't be doing any coloratura, thank god. Her voice was more suited to lyric roles such as von Eisenstein's wife which she does play in this recording. Gedda is a matter of taste. I personally don't like the whininess of his tenor voice, but that's just my preference. He certainly is well known though. The price is 20+ dollars and there are no samples for you to listen to.

And finally, for this recording. I already told you that I love it, claiming "Prey and Popp are perfect." The other roles are well sung though as well, even though the people singing them may be lesser-knowns. Ms. Varady does a fine job. People object to this recording for having a man sing the part of Prinz Orlofsky and having a baritone sing the traditionally tenor part of von Eisenstein. Ivan Rebroff plays the part of the Prinz and in my opinion does the role justice. Hermann Prey isn't the only baritone to have sung the part of von Eisenstein too. I recently heard the baritone Thomas Allen in the Lyric Opera of Chicago's performance of this opera playing von Eisenstein. I actually prefer a baritone in the role now. And Mr. Prey does a wonderful job with it. And now for Popp. I have to admit, I'm in love with her voice. Her tone, technique, and everything about her is just wonderful in my mind. She had the skills to do both lyric AND coloratura roles. It's unfortunate that she died long before her time, she could have done so much more. Here, she does a fantastic job with the role of Adele and is the final reason why I love this recording. And the price... 20+ dollars.

So which one to pick? Well, if you are in love with Edita Gruberova, it's the Previn version hands down, and you probably haven't read this far due to your disgust with my dislike of her anyways. For me, it's this recording... obviously! A good price, and with two well-known principles, Prey and Popp with a good cast all-around. The Karajan, Schwarzkopf, Gedda recording would be my second choice, although some people don't like Karajan's conducting, and even though it's by EMI, the fact that it was recorded a while ago means not top-notch sound quality.

So there you have it. I hope my shopping comparison was helpful.

Yes, there are all sorts of problems with set. Kleiber is often on overdrive which pays off brilliantly at times and becomes wearying at others, Prey and Kollo not quite in top form, and Rebroff is a disaster. But listen to Lucia Popp sing the first bars of "Mein Herr Marquis" and all complaints are washed away. Popp and Varady and often Kleiber just make this recording indispensible for all its faults.

I dare to think this is not only one of the finnest recordings on the operatic world, but the best operetta ever recorded. Carlos Kleiber conducts with spirit, joy and brain the most accurate ensemble of voices and (yes, specially) characters singing and acting superbly Strauss'masterpiece.
Pure and absolute pleasure! Really a must.

When I last wrote, I compared 3 versions of this beloved opera: the Schwarzkopf version, Te Kanawa version, and this one. Just released is Sutherland's version, with her singing the role of Rosalinde. It's safe to say without hearing the recording that Sutherland was never really great with German (it requires impeccable diction, and everyone who knows of Dame Joan and dislikes her for her diction would be wise to stay away from this recording... Sorry for putting you down Sutherland, but I had to admit to your faults), and her voice is really not suited for Strauss repertoire, nor for the Viennese acting required. The site doesn't tell who the other performers are, but with so many other versions out there (if you go into the german version of Amazon, you'll find loads of Die Fledermaus's, though the singers tend not to be well known) who needs to settle on one set since it just has Dame Joan?

As a further amendment, I didn't talk enough about how great Varady is in the aforementioned role of Rosalinde. She introduced me to another beautiful voice! Hers is very womanly sounding, and quite pure, but has just enough weight to carry off the role to perfection. I can assure you that Sutherland would not come close to this "Klange der Heimat." And to touch some more on Iwan Rebroff, his voice sort of does take getting used to, especially when you're used to a mezzo singing it. I have to say though, it's still sung well, and is quite silly.

Thanks for letting me put in a few more words!

Rebroff shows his awesome versatility and talents in this Opera, NOZDROVYA! 3 full Octaves his still sings, hes the greatest in my book Lisa Johnson