Customer Reviews

J. Strauss - Die Fledermaus / Te Kanawa, Gruberova, Fassbaender, Bär, Vienna Philharmonic, Previn

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

 

 

This performance of Die Fledermaus is no doubt beautifully performed, especially Fassbaenders aria is a jewel. However, the atmosphere is somehow cool and artificial, Te Kanawa and Gruberova have difficulties with the operetta setting of the plot. Previn does not serve the "champagne", his conducting is somehow a little too operatic. If you like to have a second version of the "bat" in your collection, choose this one or the live performance of the Vienna Volksoper in Japan (Denon). If you only need one version, the choice second to none is the Carlos Kleiber version with Varady / Prey - even if it was only for the quality of the orchestral interpretation (although assigning the role of the prince to a basso singing falsetto - Ivan Rebroff - is a question of taste).

Everyone has their own opinions regarding recordings of operas and operettas. Die Fledermaus, being the most famous operetta, is subject to numerous interpretations. This particular version has Andre Previn conducting the Vienna State Opera (Staatsoper in German) which has the time-honored tradition of performing the classic operetta every New Years Eve. The chorus and party noises (glass tinkling, laughter, conversations,etc) adds to the realism and liveliness of the ball scene. Previn is a great conductor of classical music, but as for Johann Strauss' Die Fledermaus, whose score features waltz-like, serenades and often French-style cabaret music, is not his cup of tea. The overture is not the finest interpretation. The singers are an ecclectic but formidable bunch. Kiri Te Kenawa, whom I had previously underestimated, sings an excellent Rosalinde, Fassbaender (spelled incorrectly, a woman) sings the role of Prince Orlofsky in a very comedic, brilliant manner and true to the original woman-in-trousers roles that were featured in Opera-buffas of Mozart times. Edita Gruberova, a coloratura soprano, although not at her best, sings a fair Adele and her "Mein Herr Marquis" aria is not as good as her other arias and trio roles. The waltzes and the drinking songs, the intimate dinner scenes and the maddening confusion that happens in Act 2 are all very well made. However, if you wish to buy a less darker, less restrained Die Fledermaus, get the Lucia Popps, Julia Varady version with Carlos Kleiber, noted German conductor who has more of a flair for this sort of music.

This is a collection of highlights, not the entire operetta. The first five reviews I've read had mixed reactions, but all seemed pleased with this performance.

I found Edita Gruberova's Adele superlative. Just to hear her sing "Spiel' ich die Unschuld vom Lande," is worth the price of the CD. In the "Laughing Song" (Mein Herr Marquis), she smoothly, yet precisely, sings each note, unlike so many sopranos who seem to bark the laughs. Only Janet Perry approaches Gruberova in the quality of singing in this role.

For me, Kiri Te Kanawa practically owns the role of Rosalinde. Few can equal her in any of the arias. You'll believe she's really Hungarian.

Overall, I think you'll find this a beautifully-performed, spirited Fledermaus, where all the performers seem to be having a very good time.

I bought this recording with some trepidation after reading some of the reviews here but my fears were unfounded. Dame Kiri is wonderful as Rosalinde, Brigit Fassbender makes a great Orlofsky and the rest of the cast sing well and have fun with the piece. There are ambient noises in the second act party scene but they are not intrusive and make you feel right in the middle of the action. Andre Previn's pacing can get a bit slow; especially noticable in the overture; but when he gets going the piece flies. This is one to rival the mono Schwartzkopf recording for me.

I imagine that Philips knew it had a dud on its hands when they issued this starry version of Strauss's evergreen Die Fledermaus. The date was 1991, and beforehand it must have seemed like a sure-fire combination: the Vienna Phil, Kirit Te Kanawa, and Andre Previn to hold the entire package together. What no one counted on is Previn's dull conducting, which begins with a shockingly lax overture. It's slow and lacks spring, or even a hint of joy. One can only imagine what the old hands in the orchestra must have thought. This is the kind of sleep-inducing leadership that I thought went out with Josef Krips.

It doesn't take a stellar conductor to make Fledermaus fly if the cast is good enough. Philips gives us a string of their regulars, with Te Kanawa heading the list. But Richard Leach is a sobersided Alfred when he sings and a dreadful ham when he acts, without a touch of charm or theatrical swagger. Bruberova's Adele sounds too old and gives no impression of frothiness, youth, or giddiness. Rosalinde enters sounding glum and again too old -- could this really be the glamorous Kiri? I have no idea how anyone concerned had any fun or thought we would. The other cast members are German speakers and give a better account of the proper style, but the Eisenstein of Wolfgang Brendel enters blustering at the top of his voice and borders on the splenetic. Nobody is helped by Previn's lethargy, which almost never lets up. What this his idea of nostalgia or elegance?

Dame Kiri has never been much of an actress with her voice, and we are far from the winning ways of Schwarzkopf on EMI or Varady under Carlos Kleiber on DG. But for pure vocal luster she sounds up to par, giving the role the kind of star turn it needs. Still, 'Vilja' suffers from tired blood, mostly due to Previn's snails pace, and Te Kanawa has moments of prissiness, acting too much the prim lady. Saving graces? the orchestra, chorus, and small roles, as you'd expect. In the pants role of Orlovsky Birgitte Fassbaender manages a broad, funny lampoon. but nothing about this misguided production comes within a country mile of Kleiber's set for wit and panache -- so why bother?

Dame Kin Te Kanawa (sop) Rosalinde;
Edita Gru- berová (sop) Adele;
Wolfgang Brendel (bar) Eisenstein;
Richard Leech (ten) Alfred;
Olaf Bar (bar) Doctor Falke;
Brigitte Fassbaender (mez) Orlovsky;
Tom Krause (bar) Frank;
Anton Wendler (ten) Blind;
Karin Gottling (sngr) Ida;
Otto Schenk (spkr) Frosch

Die Fledermaus has appeared in many forms. This particular CD has much to recommend it. The sound is superb, the performers well chosen, and the presentation flawless. I would recommend this version over all others.

Although I have not purchased this CD, and have only listened to certain popular selections of it... like "Dieser anstand, so manierlich (Brendel & Te Kanawa)," "Im Feuerstrom de reben (Fassbaender, Gruberova, Brendel)" and the sound sample offered by Amazon of Edita Gruberova singing the Laughing Song ("Mein Herr Marquis"). I don't have anything against the majority of the singers in this cast, except for Gruberova. Gruberova's coloratura is absolutely ghastly when compared to others out there. If you have ever heard her sing "Je veux vivre" from Gounod's Romeo et Juliette you will know what I mean... you just cringe.

However, I do like the directing from Mr. Previn and the wonderful orchestra and party-like atmosphere. And Kiri Te Kanawa is absolutely perfect for the role of Eisenstein's wife.

But... I think the recording with Lucia Popp as Adele is definitely one to have. She has a beautifully elegant, young but womanly tone and can do fantastically precise coloratura. If you have heard her in the role of the Queen of the Night from Die Zauberflöte, there is no comparison. I'm not the only person who raves about her either... she's a fantastic coloratura soprano.

Varady's soprano voice is just fine in Kleiber's Die Fledermaus, and Hermann Prey does fine playing von Eisenstein. The baritone Thomas Allen played in this role just recently at the Lyric Opera in Chicago just a couple of weeks ago and did a fine job. I think a baritone cast in the role is certainly acceptable. Ivan Rebroff plays Prinz Orlovsky and appropriately makes the character what he should be, jovial and silly.

This CD with Te Kanawa and Gruberova certainly does have a star-filled cast and world renowned conductor, orchestra, and chorus... but I believe the recording of Die Fledermaus to own is the one with Kleiber conducting the Bavarian State Opera Chorus and Orchestra and Varady, Prey, and Popp. Plus... It's cheaper!

I have not listened to this set completely, besides the samples provided by amazon, so I could not fairly give a rating. However from the clips this is no concrete reccommendation. Kiri Te Kanawa is indeed a beautiful soprano, but she sounds a bit flat and uninvolved. Brendel's Einstein is hideous. The performer who seems to be getting slaughtered was actually a very good cast for characterization. Gruberova is always so delightful, it's just that her execution isn't so clean all the time, indeed, it sounds like a bloody mess sometimes. But that is this recording and this operetta, and isn't so in everything she sings, everytime. So she sounds like she's sitting on ice sometimes, it's perfect casting for this operetta and the subsequent atmosphere. The Alfred is very good indeed. Previn conducts this more like a tragic grand opera. I recommend the 1960 Decca recording by Karajan, with the sensational Hilde Gueden as Rosalinde, Waldemar Kmnett, and Erika Koth. Karajan, suprisingly, is very much in the background with the Vienna Philharmonic Orchestra, and there is a wonderful surprise bonus with the Gala Sequence.