Customer Reviews

Strauss: Der Rosenkavalier

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

 

 

Going through the other reviewing you will read that this version is exceptional or is too old technically for listeners that can only bear digital recordings. The point is, this version is a reference definitely but has been so for nearly half a century and maybe you would like to get something new for your ears. However I would probably recommend this version as a first purchasing if you have no idea of which to choose. Recorded in 1956 by EMI, the sound is in stereo but was only intended to be in mono. The producer Legge (Schwarzkopf's husband) was not convinced by that technology and only the engineer Parker was clever enough to make some attempts during the recording sessions. Therefore the whole set does not sound as a continuous unit with the orchestra sounding a little foggy. Voices are well caught but do not transmit all emotions as they should. Schwarzkopf cannot be replaced as the Marschallin and fortunately we have a good and complete portrayal from her in studio. But if you ever have the chance to see the movie made in 1960 at Salzburg, you will understand how in only 4 years, she has made this part definetly hers. Ludwig is vibrant and ardent as Oktavian (she was only 28) but sounds too mezzo. Jurinac was preferable but she had just recorded the part for Decca. Emi should then have chosen Grümmer! Stich-Randall is "silver-made" and you will never find a purer voice anywhere. But again, she also was 28 and lacks some determination in the character (I prefer her recording of the BW51 Cantate from Bach!). Ochs is from Vienna and one can hear his typical accent clearly but he does not really have the lower notes or the darker tone demanded by this role (see Weber, Böhme, Moll or Ridderbusch). Karajan gives a superb interpretation without underlining the legato too much as he later did in 1983 for DG. As a conclusion, do not hesitate to buy this set. If you already have it (even in older mastering, sound is not really improved and is even cooler here), try the fabulous live recording from Myto with Kleiber JR. conducting which I've given 5 stars!

The Karajan/Schwarzkopf/Ludwig team are still unbeatable amongst a collection of great Rosenkavaliers out there. Elizabeth Schwarzkopf in particular is definitive; her finely nuanced acting in peak form in this recording. And her voice was born to be paired with Christa Ludwig's. The final trio of the women is heart-breakingly gorgeous. A beautiful recording, lush and intimate.

There are many things right with this recording--so many that it has attained classic status. But I also think there are enough things wrong with it to make it less than a first choice. First of all, Karajan makes all the traditional cuts in the score, the worst being the truncation of the Baron's amusing Act 1 monologue. This alone makes the uncut sets by Solti (on Decca) and Erich Kleiber (also on Decca) preferable. Second, the 1956 stereo sound is only acceptable; Schwartzkopf thought the mono version sounded better, and she may well be right. Third, I find problems with some of the singing: Stitch-Randall is an intelligent Sophie, but her voice is rather "white" and not particularly attractive, and Ludwig, who of course sings beautifully, doesn't sound very boyish.

This is a very good recording, of course. But two recordings are preferable, both for having no cuts and for all-around performances. Erich Kleiber's 1954 recording, while in mono, has adequate sound, along with great conducting and fine singing. The first choice for this opera, though, is Georg Solti's recording on Decca, blessed with superb stereo sound and perhaps the best cast of all: Regine Crespin's moving and charming Marschallin (a bit past her best but still great), Yvonne Minton's eager, ardent Octavian, and the unmatched Sophie of Helen Donath. Solti is at his best, and the only real flaws in the recording are a few audible tape splices that briefly break the mood. The Solti recording is not available from amazon.com, but, strangely enough, it is available from amazon's British branch, www.amazon.co.uk!

If you like this opera, you have found the complete recording. There are no weak points, in every detail, Karajan has succeded. When T. Stich-Randall and C. Ludwig sing the duet in the beginning of act 2, it can be said in just one word, sensational!

Looking through other reviews of this recording, you may read that this is too dated a recording, or of the inferiority of the Karajan interpretation. Therein lies the crux of my review...this is an older recording; though remastered, it does not sound entirely modern...nor, perhaps, should it. Karajan's interpretation of the "Rosenkavalier" certainly differs from Solti's. Karajan's sense of style again pervades here; if you dislike the imprint that Karajan, like all great conductors, leaves upon the work that he conducts, skip this. If, on the other hand, you are both a lover of Strauss operas, and an admirer of Karajan's work, this is an unbeatable recording, showcasing beautiful performances. Highly recommended.

There can be no denying the performance quality of the conductor, symphony, and singers. Karajan was able to attain the emotional and comical heights of Strauss' great opera. There are a few omissions, however, which is unfortunate. For those unfamiliar with the opera, it will be unnoticed, but this recording should be considered more for enjoyment or the study of the performance but not as a tool to study the opera itself.

I think this CD set is the best recording of DIE ROSENKAVALIER. A must buy!

Enjoyed the interpretation and the casting of the voices. It's too bad that Karajan wasn't in his prime when our recording technology had advanced.

I'm an aspiring opera composer who bought the score, and agree with one reviewer that this is probably not the best choice to study by since substantial sections have been seriously slashed (Act I and Act III especially). (You may begin to doubt your score reading abilities, but don't worry, there are substantial cuts.)

Students will also probably notice the intended "meshed" orchestral sound (popular in recordings in the 50's) which doesn't allow individual instruments to sing out except during obvious solo parts. This can be especially frustrating when trying to understand Strauss' use of instruments and his genius behind the orchestration.

Two final criticisms I have concern diction and remastering.

I know the singers are supposed to be using "Weiner" accents, but I think some of the German diction is even more atrocious than the librettist intended. (Karajan, where were you to advise?)

And concerning the remastering, there are noticeable skips in recording levels and quality.

Overall, for a historical performer/conductor experience, this CD is a must, but for a nuts and bolts study, I'd suggest spending the extra bucks on a more recent recording.