Weber: Der Freischütz

Carl Maria von Weber (Composer), Carlos Kleiber (Conductor), Dresden Staatskapelle (Orchestra), Bernd Weikl (Performer), Brigitte Pfretzschner (Performer), Edith Mathis (Performer), Franz Crass (Performer), Gundula Janowitz (Performer), Gunther Leib (Performer), Ingeborg Springer (Performer), Peter Schreier (Performer), Renate Hoff (Performer), Renate Krahmer (Performer), Siegfried Vogel (Performer), Theo Adam (Performer)

Product Details

• Performer: Bernd Weikl, Brigitte Pfretzschner, Edith Mathis, Franz Crass, Gundula Janowitz, et al.
• Orchestra: Dresden Staatskapelle
• Conductor: Carlos Kleiber
• Composer: Carl Maria von Weber
• Audio CD (April 14, 1998)
• SPARS Code: A-D
• Number of Discs: 2
• Label: Deutsche Grammophon
• ASIN: B000006145
• In-Print Editions: MP3 Download
• Average Customer Review: 4.8 out of 5 stars  See all reviews (25 customer reviews)
• Amazon.com Sales Rank: #23,584 in Music (See Bestsellers in Music)

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Track Listings

Disc: 1

1. Der Freischütz, opera, J. 277 (Op. 77): Ouvertüre

2. Der Freischütz, opera, J. 277 (Op. 77): Act 1. Scene 1. Introduktion. Viktoria! Viktoria! der Meister soll leben. Peasant March. Scha

3. Der Freischütz, opera, J. 277 (Op. 77): Act 1. Scene 2. Was git's hier?

4. Der Freischütz, opera, J. 277 (Op. 77): Act 1. Scene 2. No. 2. Terzett mit Chor. Oh, diese Sonne, furchtbar steigt sie mir empor!

5. Der Freischütz, opera, J. 277 (Op. 77): Act 1. Scene 3. Ein braver Mann

6. Der Freischütz, opera, J. 277 (Op. 77): Act 1. Scene 3. No. 3. Walzer

7. Der Freischütz, opera, J. 277 (Op. 77): Act 1. Scene 4. Rezitativ und Arie. Nein, länger trag' ich nicht die Qualen ... Durch die Wäl

8. Der Freischütz, opera, J. 277 (Op. 77): Act 1. Scene 5. Kamerad!

9. Der Freischütz, opera, J. 277 (Op. 77): Act 1. Scene 5. No. 4. Lied. Hier im ird'schen Jammertal!

10. Der Freischütz, opera, J. 277 (Op. 77): Act 1. Scene 5. Bruderherz!

See all 18 tracks on this disc

Disc: 2

1. Der Freischütz, opera, J. 277 (Op. 77): Act 2. Scene 4. Wolf's Glen Scene. No. 10. Finale. Milch des Mondes fiel aufs Kraut! Scene 5.

2. Der Freischütz, opera, J. 277 (Op. 77): Act 3. No. 11. Entr'acte

3. Der Freischütz, opera, J. 277 (Op. 77): Act 3. Scene 1. Herrliches Jagdwetter!

4. Der Freischütz, opera, J. 277 (Op. 77): Act 3. Scene 2. No. 12. Kavatine. Und ob die Wolke sie verhülle

5. Der Freischütz, opera, J. 277 (Op. 77): Act 3. Scene 3. Du hast dich dazugehalten!

6. Der Freischütz, opera, J. 277 (Op. 77): Act 3. Scene 3. No. 13. Romanze, Rezitativ und Arie. Einst träumte meiner sel'gen Base...Du z

7. Der Freischütz, opera, J. 277 (Op. 77): Act 3. Scene 3. Nun muß ich aber den Kranz holen!

8. Der Freischütz, opera, J. 277 (Op. 77): Act 3. Scene 4. No. 14. Volkslied. Wir winden dir den Jungfernkranz. Scene 5. Da bin ich wied

9. Der Freischütz, opera, J. 277 (Op. 77): Act 3. Scene 6. No. 15. Jägerchor: Was gleicht wohl auf Erden

10. Der Freischütz, opera, J. 277 (Op. 77): Act 3. Scene 6. Genug der Freuden des Mahles

See all 11 tracks on this disc

Editorial Reviews

Amazon.com

Der Freischütz is one of the great milestones in the history of opera. The resounding success of its premiere in 1821 practically made it a manifesto for German Romantic opera, one that would become a significant formative influence on Wagner. Although it has its roots in the Singspiel tradition exemplified by Mozart's Die Zauberflöte, Der Freischütz cut new ground with its potent mixture of supernatural elements, dreams, folk melodies, evocations of nature, and symphonic tone painting. Here, von Weber exploited his brilliant orchestral imagination--using, for example, carefully divided string tremolos and a gleaming choir of four horns--to maximum effect. This legendary recording from 1973 was Carlos Kleiber's first studio project, and the scrupulous attention he lavished on the score resulted in an interpretation that continues to sound bold, fresh, and authoritative. The Dresden Staatskapelle plays in top form, whether in tenderly sprung wind solos or in the truly spooky atmospherics of the famous Wolf's Glen scene. Peter Schreier's dark, pungent tenor is something of an acquired taste, but he gives fervent voice to the despair of hunter/protagonist Max. Gundula Janowitz sings with stirring beauty and enriches the two-dimensional character of Max's beloved Agathe with remarkable depth, revealing both her innocence and her agonized foreboding. And Theo Adam delivers a thoroughly spiteful, loathesome vocal portrait of the nefarious Kaspar, whose pact with the devil Samiel goes awry. For a work that is not performed nearly as often as it deserves to be, this recording is essential. --Thomas May

Customer Reviews

Most Helpful Customer Reviews

39 of 41 people found the following review helpful:

5.0 out of 5 stars 5 stars depite the jerks at DG, December 2, 2001

By	T. Murphy (San Jose, California United States) - See all my reviews (REAL NAME)

This is, quite simply, the best recording of this incredibly important opera that you can find. It does Weber credit that after 200 years the Wolf's Glen scene can still make a person shudder. Cast and orchestra are in spectacular form, and the interscene dialogue in nicely truncated to keep things moving forward.

My big gripe about this album is that DG's rerelease does away with all the liner notes that were a great addition to the initial release. Even the excellent (menacing!) cover art is placed askew. I realize that you can't beat th new price, but even Naxos provides a full libretto with their operas (for even cheaper). So, buy it, but narrow your eyes a little in protest at this new habit of stripped-down re-releases.

23 of 23 people found the following review helpful:

5.0 out of 5 stars A thoroughly engrossing experience!, May 27, 1999

By A Customer

This is definitely one of the landmarks of modern opera recordings. "Der Freischutz" is not performed very often outside of German-speaking countries, but this opera transfers very well to CD and demands to be heard. This recording in particular captures the atmosphere of the piece perfectly - you feel like you're in a dark German forest. Kleiber's pacing of the "Wolf's Glen" scene is particularly convincing. The whole cast is excellent - I have never heard better singing from Peter Schreier and Theo Adam - but Gundula Janowitz really steals the show with her Act II aria and Act III "prayer" song. I have rarely, if ever, heard more ravishing singing on record. Of course, most of the credit for holding this performance together goes to Carlos Kleiber, whose international reputation largely came into being with this recording.

It is good to finally have this opera at mid-price, very well remastered (much better than the original CD). I have two very minor reservations. First, this reissue has been shorn of the lengthy essay that accompanied the first CD issue, although the relatively brief essay included in the booklet is helpful (there is also a translated libretto and detailed summary). Second, Kleiber uses actors, rather than the soloists, to speak the dialogue in this opera; this is generally not distracting, but I noticed that the actresses who speak the dialogue for the roles of Agathe and Annechen have more strongly contrasted voices than Gundula Janowitz and Edith Mathis, who sing those roles. These points are very minor.

Overall, this is one of the most melodic, exciting, and atmospheric of all operas -- it may be my favorite -- and it's a great introduction to the art of Carlos Kleiber, who has made only a select few recordings, and his excellent Germanic cast. At mid-price, it's more mandatory than ever.

14 of 14 people found the following review helpful:

4.0 out of 5 stars Expectations too high, October 26, 2000

By	Josh Sosland (Kansas City, MO USA) - See all my reviews

Having read the great reviews and loving the opera, I bought this recording with great anticipation. My reaction after listening was mixed. The positives have been described by others. And there are many moments that are absolutely dazzling. What bothered me was the way Kleiber seems to conducting almost frantically. For instance, the Waltz (which you can listen to on the sample) is played at a breakneck speed. It didn't conjure in my mind townspeople dancing into the tavern. The pacing made me think Kleiber was being almost dismissive of the music. At the start of the wolf's glen scene, the ghosts don't seem spooky, they seem shrill. I would encourage people to be wary when recordings are "anointed" as this one seems to have been. I couldn't argue with someone calling this recording "brilliant," but its idiosyncracies would make me unwilling to describe it as "definitive."