Customer Reviews

Orff - Carmina Burana / Oelze, Keenlyside, Kuebler; Thielemann

5 star:		(7)
4 star:		(3)
3 star:		(0)
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One of the major complaints that I have heard about this recording is that there is not quite enough rhythmic emphasis for many peoples' tastes. Although Carmina Burana is certainly a piece with a very percussive nature, Theilemann allows more room for the music to flow organically, which is a pleasant break from the constantly incisive recordings that are more common. (Even Previn's recording, also on DG, is a good deal more harsh in the louder sections). The criticism of the caesuras between the first three bars of "O Fortuna" is only partially valid in that Orff does indicate breath marks between these statements (which are followed all-too rarely). However, perhaps this recording exaggerates them a bit.The entire first section is done very well. It is a nice break to not hear all of the Tanz done at breakneck speed for a change. Were diu werlt alle min sings out most jubilantly. Keenlyside's interpretation of Estuans interius and Ego Sum Abbas is effective, although the falsetto cadenzas in Dies, Nox et Omnia are a little heavy on the rubato. I generally prefer an Olim Lacus done by a countertenor or else the baritone soloist in falsetto (as was the case with the original performance), and find the plena voce version with a high tenor strained, although appropriately painful for a song sung by a roasted swan.The third section "Cour d'Amours" is the most different. Thielemann allows the melodic lines to flow and intertwine, especially in Amor Volat Undique, which is sung beautifully by the boy's choir. The soprano soloist, Ms. Oelze, does a fine job, although not quite as satisfying as Barbara Bonney's In Trutina, which remains my favorite moment in all of the Carminas I have heard. This is a recording that brings new light to a warhorse of a piece, and is well worth looking into. There are more "authoritative" accounts, including Jochum's recording with Janowitz and Fischer-Dieskau that was signed by the composer, but for a truly excellent performance with more introspection than usual, this is the way to go.

About ca 50-60 Carmina Burana versions is out there and this new one is among the finest, even if it not better than Ozawas, Dutioit and the legendary Jochum (Deutche orginal with Fischer-Dieskau), but this one stands up very well and deserves your attention.

It is a little bit slower than usual (a couple of minutes over 1 hour) and that could ruin this work but it doesnt. Thielemann going for the slow, more romantic pre sec world war two style of german conductors but he is doing it on the right places so it doesnt lack in intensity and the best part is the singers Keenlyside and Oelze. Kuebler too get it right and choir is great.

Recording sound and package is superb. We get songtexts in it and not many versions out there give us that and togheter with Jochum classic standard this is the modern version to have and it might well stands as first choise.

For fans of this piece it is a must have compliment and for newcombers... get it beause of all that is mentioned above.

This is VERY good and highly recommended.

Back in 1967, maestro Eugen Jochum, who is well-known for his Bruckner interpretations, released Carmina Burana with the original composer present during the recording. It was a supreme rendition, and it overshadowed many newer recordings such as Previn's, Dutoit's, and Stokowski's. For this fresh recording from Christian Thielemann, who uses the same orchestra and choirs as did Jochum, it does not overpower the excellent 1967 recording, but it is as outstanding as the 1967 recording.

Thielemann seems to know the cantata very well. He doesn't overstress the energy nor does he quiet down the lyrical passages. He is also noteworthy for slowing down the tempi when it needs to be slowed down. In the Jochum version, an adagio is never present in Cour d'amours, which makes it more invaluable through tone and technique. For Thielemann, the Cour d'amours sounds more poetic and unhurried. Indeed, the faster sections, such as "Veni, Veni, Venias," still have the same atmosphere as Eugen Jochum's rendition.

Uf dem Anger and In Taberna still have the same addictive energy as every other Carmina recording. However, what's different about this version is it sounds both energetic and calm at the same time. Tension is somewhere right in the middle. There is no overblowing and no alleviating. It's seems flawless in every level.

While I still prefer Jochum's superb rendering of Orff's cantata masterpiece, I also think that Christian Thielemann is highly recommendable. Get it while you still can.

A controlled, soft-edged performance with many affecting slow sections and some meltingly beautiful solos. It's very large in scale, but overall low-to-medium on the voltage and prurience meters. Outstanding recording with great depth, breadth, and vividness. I give it a thumbs up!

My very first exposure to the work was the popular Ozawa/BSO LP on RCA [Orff: Carmina Burana]. It, too, transformed Orff's paean to medieval carnality from the soundtrack of a traveling frat party to that of Romeo and Juliet -- removed from what the likes of Jochum and Sawallisch made of it in previous decades.

Ironically, Thielemann in '99 leads the same forces as Jochum had over thirty years earlier...at least in name. Jochum's famous '60s stereo recording is still available, also on DG; it's seemingly been dubbed by many critics with that appellation I loathe - "definitive" [Carl Orff: Carmina Burana]. I can certainly enjoy and recommend either approach, though one must assume Jochum's is far more in tune with Orff's theatrical pre-war Berlin "cabaret" idiom -- snarly, lewd, and often comical.

Christian Thielemann has the equivalent of an architect's mind blended into the vision of a musician. His concept of the ever-popular CARMINA BURANA may not knock the socks off your sound system, may not hit the raucous highs of other recordings that strive for dramatic and lusty effect, but as for the work rethought as a cantata, this version is among the best.

Thielemann has his huge forces (Deutschen Staatsopernchor und Orchestra Berlin, Knabenchor Berlin, soloists Christiane Oelze, Simon Keenlyside and David Kuebler) in meticulous control and that is not to say he doesn't allow the passion inherent in this work to flow. Quite the opposite, he pays attention to the gentler moments of each section so that the outbursts become more impactful.

Oelze, Keenlyside and Kuebler are just about as fine a group of soloists as could be gathered for this work and they each perform with great beauty and style. The chorus proves its reputation as one of the finest opera choruses with crystal clear enuciation and unity of sound. Clearly this recording of a chestnut is one that will open the eyes of even the most critical audiences who have their own favorite versions of Carmina Burana. Highly Recommended. Grady Harp, September 05

The crowd loves Carmina Burana as much as serious musicians disdain it, and the whole point is to raise the roof. Intrinsically Orff's idiom is pop crossover from Stravinsky (primarily) with college glee club tunes. In live performance the work can be as much fun as the circus, but not here. I've rarely heard such a poker-faced reading. Thielemann usually wears an emotional mask; in this case it's imprenetrable. You can't tell which songs are erotic, joyous, parodistic, or mock reverent. Those qualities come out vividly in readings by Jochum, Fruhbeck de Burgos, and Stokowksi.

For all that, Thielemann knows how to marshal large forces, and everyone concerned does well. Nothing drags or sounds turgid in texture. Simon Keenlyside is especially smooth and sensitive in his solos (if that's what you want--parody is beyond him) and fantastically in tunje when asked to sing in falsetto. Tenor David Kuebler does a brave job reaching the in excelssis high notes of the roasted goose's lament. Soprano Christiane Oelze, assigned another stratospheric song, applies a lovely tone and never shrieks. In all, these three are the best thing about the performance. If only everybody could have had more fun. This isns't the B minor Mass, after all.

The music of Carl Orff's "Carmina Burana" transcends all barriers of human existence. The work is based upon twenty-five poems in Old English, which he discovered and set to music. The album is an excellent example of his amazing use of chord structure, dynamics, instrumentation, and harmony. The dynamics alone make this one a must-have. Set your speakers at a reasonable volume and experience dynamic range in the extreme. Within songs there are sudden changes from pianissimo to fortissimo--both in their most extreme forms. The effect is a constant wrenching of the soul to get closer to the music and to experience more of it. In a word, you will be left breathless.

I was first exposed to this wonderful piece last year when my school Wind Ensemble it played for an in town music festival.I mean,I had heard the music about a million times in the movie theater an on TV,but I never knew what it was called!Whenever I throw a party and I invite band members and non-band members,we always play this at least once and the non-band people always look at us like "What planet are they from?".But I think the only reason they think that is because they`re jealous of our good taste in music.:)To sum this all up,anyone who`s anyone and is into music should have this CD!

This is an excellent recording of Carl Orff's Carmina Burana. The German Opera in Berlin did an excellent job of just pounding the emotion in when it needed to and just tapping at the right parts. Definitely a must for anyone who appreciates true music.

my sophomore, i had joined the school marching band, and this was the repitoire for that season. We had an excellent season which brought us to finish 3rd in our division in the Wi state marching band Championships. To put it lightly; when they played they sounded twice the size we actually were (75 instrument players sounding like 150 is fairly strong). The music on this CD is a very good representation of the 15th Century monks that wrote the poetry for the musical interpretation done by Orff. Excellent CD for any one who appreciates good and true music.