Customer Reviews

Strauss: Der Rosenkavalier

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

 

 

While hardly the last word, there is much to enjoy in this "Rosenkavalier", starting with the radiant Octavian of the great Frederica von Stade.

There is also much to admire in the somewhat tragic Marschallin of Evelyn Lear. Obviously this artist has put much thought into her interpretation and if her voice is a bit past it's best days here, she uses it to her advantage and to the advantage of the role. Her characterization gently tugs at one's heart as she comes to realize she is losing what she knows will be her last great love. This is a more European take on the role than most American audiences are used to. Not a star turn, but more a gentle farewell.

I can't help but comment that, in my humble opinion, Evelyn Lear is one of the great singing actresses of her generation, and this recording, finally, does her justice.

Ruth Welting, another singer not as well known as she should be, rounds out the trio of women, and is sparkling as Sophie.

Jules Bastin actually sings the part of Baron Ochs, an increasing rarity these days.

Edo de Warte conducts well.

All in all, this is a fine performance, enhanced by the security of all the principals in roles well suited to each of them. Yes, there are probably better Rosenkavaliers out there. But you'll be hard pressed to find one performed with such obvious love of the music.

Four stars only because the sound is just slightly dated.

I couldn't help but notice the scathing opinions posted here about this recording; I will hazard a guess that they were written by opera absolutists who shine a harsh, glaring light on every sound that issues forth from every singer in question. And while I find myself now in a similar mode, let me report that EVERY note sung by the principals in this performance is delivered with the utmost artistry and emotion; this cast really understands and projects everything in this complex and lengthy opera, presented here complete without cuts.

Top honors, though, go to Edo de Waart, who conducts this monumentally demanding score brilliantly, being totally in command of every measure. He observes every tempo marking, in addition to eliciting phenomenally detailed playing. The sound is clean, clear and rich, with a nice sense of spaciousness.

Two remarkable passages among many: 1.)the excitement near the beginning of Act 2 as Sophie and Marianne await the imminent arrival of the Rose Bearer, with the men's hearty cries of "Rofrano" growing gradually nearer---it's so glorious in its sound and pacing that I can't imagine it done better. Similarly, 2.)the orchestral scherzo-introduction to Act 3, as wickedly challenging as anything in the orchestral repertoire, is performed as flawlessly as humanly possible. Unfortunately, opera fanatics will barely take notice of such things. Here is a rare performance led by a conductor who can shape, delineate, propel and/or caress every phrase, resulting in a reading that positively radiates character in every measure.

True, Evelyn Lear is past her prime (as is the character she portrays), but she artfully disguises her limitations (using every trick in the book during the endless conversational passages in Act 1), and amply conveys the emotional world of the Marschallin. Von Stade is all one could ever ask for as Octavian, and Ruth Welting is a fine Sophie. Jules Bastin uses his somewhat colloquial sound---bawling, bellowing and often vibrato-less---in what can only be described as a supremely virtuostic realization of the role of Ochs. Yeah, a couple of the minor roles sound pretty hideous---but at least they are enthusiastcially sung.

Too bad this recording is overlooked. But I would advise anyone looking for an excellent and inexpensive (not to mention NOTE-COMPLETE) recording of this great work to look no further.

This recording of Rosenkavalier is a historic document because of at least two singers whose names have been connected to their characters in this famous opera: Frederica von Stade (Octavian) and Evelyn lear (Marschallin.
It was also an international break through of Edo de Waart as an opera conductor on the recording market in 1976.
The Rotterdam Philharmonic, one of Europe's best Orchestras and the ensemble of the Netherlands Opera complete a very precise and exciting addition to the CD market of the many recordings of this work. As the Co-director of Netherlands Opera in those years I feel proud of this product of ideal "Stagione" in the opera.
Nando Schellen 08-10-11

The blistering two-star review below has the facts right but may be too harsh in its judgments. Von Stade has countless fans who might want to hear her at her freshest in 1976 as Oktavian, and there's a passing glimpse of Jose Carreras as the Italian tenor. De Waart conducts deliberately; he wins good playing from his Rotterdam orchestra and warm sonics from Decca. But Bastin's voice is too lean for Baron Ochs, and his German pronunciation is stilted, as are his attempts to be Viennese. Welting is adequate as Sophie. The real question as to listenability is Lear's fragile Marschallin, whose fading voice actualy helps develop the image of a vulnerable, aging woman, too old for Strauss's conception but still touching.

In the end, there's too much wrong to make this a good Rosenkavalier, but the intimate scenes between Von Stade and Lear have their moments.

Von Stade is probably the best Octavian among the fine sopranos who have recorded this role. Unfortunately, Evelyn Lear is so far past her prime that she may qualify as the worst of the Marschallins, and Ruth Welting is outclassed by every recorded Sophie (yes, I've heard them all). DeWaart's tempi are sometimes laborious, seemingly to accomodate Lear's vocal problems. The supporting cast is seldom more than adequate; the Marianne is a horror. Bastin's excellent Ochs gets rather lost in the noise. Von Karajan (Schwarzkopf) is still the best, with Solti (Crespin) a very close second. For the budget conscious, the live recording with Janowitz, Minton, and the superb Lucia Popp on Opera d'oro beats this recording by miles.