Customer Reviews

Lehar: The Merry Widow [Die Lustige Witwe] (Great Recordings of the Century)

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I'll make this short and sweet. This 1962 EMI "Merry Widow" is arguably the greatest recording ever made of an operetta. It was acclaimed with critical superlatives upon the time of its original release, and in light of subsequent versions, it shines more brilliantly than ever before. The stereo sound, already good to begin with, has been remastered with precision and care, furnishing us with a musical document that could have been recorded yesterday. Lovro von Matacic has shaped the score into a fantastic theatrical experience, evoking the Viennese spirit at every turn. Elisabeth Schwarzkopf was born to perform this charming and beautiful role, and expectedly, creates a Hanna Glawari that leaves all others at the starting gate ---- including Joan Sutherland, Cheryl Studer, and Beverly Sills. Nicolai Gedda's Camille Rosillon is a vocal paragon, producing sound that conjures the illusion of honey being poured into the ear. There may be a few reservations about Eberhard Waechter's blustery and gruff Danilo, but this is but a very minor flaw in light of the beauty of the entire production. The supporting cast is excellent. If one owns no other operetta recording, this one is an absolute must. In keeping with EMI's logo, here very apt, this "Merry Widow" is truly one of the great recordings of the century. Acquire it without delay.

I've heard more recordings of "The Merry Widow" than I can count, and many of them are enjoyable. None, however, has the infectious charm and elegance of this 1962 EMI version. True, the performance could probably have been accommodated on a single CD (with very few seconds to spare!), and yes, there are some cuts, but what is presented here constitutes something so special, so illuminating, and so magical that it hardly matters. Von Matacic shapes this cream puff of an operetta with even more verve that Otto Ackermann did on the previous 1953 EMI recording (also with Schwarzkopf), and one can almost "feel" the fizz of the champagne throughout the entire performance. Elisabeth Schwarzkopf was born to sing the title role, and in my humble opinion, no other soprano comes within miles of what she accomplishes here. Her idiomatic dialogue, her vocal shadings, and her musical instincts are balm to the ear. She easily surpasses her previous monophonic EMI performance of nine years earlier (and that was a great one!). Nicolai Gedda also surpasses his earlier work on that legendary 1953 recording, offering singing of very great lyricism and beauty. Eberhart Wachter was a very fine baritone, and made some wonderful recordings. His singing here, however, seems to me to be a little gruff, a little crude, and peppered with too much "speak singing", especially when heard in close proximity to Schwarzkopf and Gedda. Still, this was/is one of the greatest recordings EMI ever made, (truly a worthy entry to the "Great Recordings of the Century" series), and it showcases the artistry of Schwarzkopf magnificently. This would definitely be one of my "desert-island" recordings.
With the announcement this morning that Elisabeth Schwarzkopf passed away, this recording becomes even more legendary. It's a beautiful memorial to one of the greatest sopranos of the last century.

This classic recording doesn't need any more accolades, but I wanted to say how much joy it has brought me over the years. I have bought several modern Widows, too, but thrown them all away. This gem will be remembered as long as the work itself, and it's all the more amazing since Schwarzkopf never performed in a staged operetta of any kind.

P.S. - I came late to Schwarzkopf's mono Merry Widow under Otto Ackermann, from the early Fifties, which finds her in even more ecstatic voice. Many listeners may prefer Erich Kunz, whose Danilo is mellower and less fiercely temperamental than that of Wachter in the later set. No one should miss either recording, given the shortfall of joy these days.

While this is a good performance of this enjoyable opera, buyers should beware. The performance clocks in at less than eighty minutes which means it could have been stuck on a single disc--...Moreover, two numbers (and a few other snippets) from the complete opera are cut ...BTW, the Decca version is superior. The performance is as good...less of the text is cut...and the two discs are well filled with the Merry Widow and selections from Der Graf von Luxembourg.

The moral: steer clear of this EMI [bad deal] and go with the Decca...

After owning this CD for more than a decade, the goose bumps it instills have not diminished. Simply, this is one of the greatest operetta recordings of all time and should definitely not be missed.

Concerning it's limited minutes, that's not necessarily a bad thing. Perhaps those with a burgeoning interest in opera would look to this "short" recording as a introduction to the art form. My personal belief is that this recording is THE PERFECT recording to provide an introduction to opera. And, as those in the opera world know, we need more NEW fans for opera's future.

Although there is an enormous depth of beauty in Wager's Ring music to be heard, for example, one needs a proper introduction to opera in order to "hear" it. In music schools around the world, students are required to have many, many ear training courses before graduation. The simplicity in this recording of Die Lustige Witwe provides just the right amount of "ear training" for someone wanting to learn opera from the beginning.

This is not to suggest, however, that this recording IS simplex. It compares very nicely to Mozart. His music seems simple too ... yet those who know Mozart's music very well (and I refer to pianists Horowitz and Schnabel, among others) there is a sublime beauty that reveals itself upon years of study. This beauty is evident after years of listening to this recording. Hence, I still get goose bumps.

On a different note, every time I listen to Elisabeth Scwarzkopf on this CD there's a certain sadness that strikes me. Her vocal abilities coupled with her operatic personality are unmatched in today's opera world and they come through so clearly on this CD. True, the sound here isn't always perfect and it's sometimes too loud, but why be so picky. There is so much charm in her art form on this CD that it's simply amazing - and wonderful.

Lastly, Hanny Steffek and Nicolai Gedda (one of the most tender of tenors ever) share a chemistry that leaps off the CD.

Summary: Pure enjoyment - this MUST be purchased.

Choosing between this Lustige Witwe and the EMI 65381 Wallberg version with Donath, Moser, Prey and Jeruselem is tough. Schwarzkopf has a definite edge on Edda Moser (Hanna on the Wallberg EMI), but the sound on Wallberg is a bit brighter and the diction clearer and more sprightly. The men and Helen Donath are much more easily differentiated on the Wallberg and the performance is more live and spirited. Both versions are head and shoulders above others currently on the market, particularly the Studer, single disc version, whose only merit is the single disc. Interestingly, both of these ignore the "I lose my millionen when I marry" story line on the Studer and other versions. If you must choose only one, buy the Wallberg Merry Widow and get Schwarzkopf's "Operetta Arias" EMI album which has a really elegant set of her performances, much superior in quantity and quality to her total involvement in this Merry Widow. The booklet accompanying this Merry Widow is really fine quality and very complete - more so than the Wallberg.

"The Merry Widow" has been recorded many times and there is a fight between critics and music lovers as to which is better - Schwartzkopf on the EMI label or Studer on the DG label (I think that's the label). I have both and my decision for the one to listen to repeatedly is this one being reviewed here. Elizabeth Schwartzkopf is a delight as Hanna and has that character nailed down. Every inflection, even in the spoken dialogue is perfect and her singing is beautifully done. Her supporting cast, (...sorry for the pause, I had to get my reading glasses!) who include Eberhard Wachter, Nicolai Gedda, and Hanny Steefk, among others, does not have a weak link in it and everyone gets into the fun, fizzy, lighthearted spirit of the piece, even the orchestra, expertly led by Lovro von Mtacic (I have never heard such a joyous, Act one "Merry Widow Waltz". People may have a problem with using disc one as only for the 28 minute first act but it works better than break-up the flow of Act 2, potentially making it "run out of steam" during the break to change CDs. So, no problem with that for me. The sound is excellent and balanced just right. There is a large booklet containing the libretto (in all its usual languages) and ample documentation. This is a recording you'll really enjoy and feel glad for purchasing.

Let the buyer beware...

This may be a fine performance, but...

1. The two discs come out to a timing of less than eighty minutes...In other words, the entire performance could have been put on a single disc. As it is the 20 plus dollar cost of this opera is a patented record company rip-off.

2. This is not a performance of the entire opera. Two tunes are missing along with other small cuts.

I wish I'd read the Amazon reviews more carefully before buying this, particularly "A terrible abridgement". This recording may have sonic and vocal performance virtues, but the third act in particular has been hacked to incomprehensibility. Lehár is pretty fluffy stuff to begin with, but it's not as utterly scatterbrained as one would be led to conclude from this recording.

Ater 37 years of listening to this recording, in one or another of its forms, my delight is is undiminished. Steffek singing of the pavillon is incomparable. Gedda and Schwartkopf still give great pleasure, and von Karajan and Legge merit gratitude. Please consider acquiring his CD