R. Strauss Der Rosenkavalier & Lieder
View record and artist detailsRecord and Artist Details
Composer or Director: Richard Strauss
Label: Références
Magazine Review Date: 4/1993
Media Format: CD or Download
Media Runtime: 147
Mastering:
Mono
ADD
Catalogue Number: 764487-2
Tracks:
| Composition | Artist Credit |
|---|---|
| (Der) Rosenkavalier |
Richard Strauss, Composer
Richard Strauss, Composer |
| (4) Lieder, Movement: No. 4, Morgen (wds. J H Mackay: orch 1897) |
Richard Strauss, Composer
(Anonymous) Orchestra Elisabeth Schumann, Soprano Lawrance Collingwood, Conductor Richard Strauss, Composer |
| (6) Lieder, Movement: No. 2, Ständchen |
Richard Strauss, Composer
(Anonymous) Orchestra Elisabeth Schumann, Soprano Lawrance Collingwood, Conductor Richard Strauss, Composer |
| (5) Lieder, Movement: No. 1, Wiegenlied (wds. Dehmel: orch 1916) |
Richard Strauss, Composer
Elisabeth Schumann, Soprano Ivor Newton, Piano Richard Strauss, Composer |
| (5) Lieder, Movement: No. 1, Freundliche Vision (wds. Bierbaum: orch 1918) |
Richard Strauss, Composer
Elisabeth Schumann, Soprano Ivor Newton, Piano Richard Strauss, Composer |
| Schlichte Weisen, Movement: No. 1, All' mein Gedanken, mein Herz und mein Sinn |
Richard Strauss, Composer
Elisabeth Schumann, Soprano Karl Alwin, Piano Richard Strauss, Composer |
| (4) Lieder, Movement: No. 3, Hat gesagt - bleibt's nicht dabei (Des Knaben Wunderhorn: 1898) |
Richard Strauss, Composer
Elisabeth Schumann, Soprano Karl Alwin, Piano Richard Strauss, Composer |
| (5) Kleine Lieder, Movement: No. 5, Schlechtes Wetter (wds. Heine) |
Richard Strauss, Composer
Elisabeth Schumann, Soprano Karl Alwin, Piano Richard Strauss, Composer |
| (3) Lieder, Movement: No. 1, Traum durch die Dämmerung |
Richard Strauss, Composer
Elisabeth Schumann, Soprano Karl Alwin, Piano Richard Strauss, Composer |
| (5) Lieder, Movement: No. 2, Ich schwebe (wds. Henckell) |
Richard Strauss, Composer
Elisabeth Schumann, Soprano Karl Alwin, Piano Richard Strauss, Composer |
| (5) Lieder, Movement: No. 5, Heimkehr (wds. A F von Schack) |
Richard Strauss, Composer
Elisabeth Schumann, Soprano Leo Rosenek, Piano Richard Strauss, Composer |
| (3) Lieder, Movement: No. 2, Muttertändelei (wds. G A Bürger: orch 1 |
Richard Strauss, Composer
Elisabeth Schumann, Soprano Karl Alwin, Conductor Richard Strauss, Composer Vienna State Opera Orchestra |
| (6) Lieder, Movement: No. 6, Die heiligen drei Könige aus Morgenland (: 1903-06, orch 1906) |
Richard Strauss, Composer
Elisabeth Schumann, Soprano Karl Alwin, Conductor Richard Strauss, Composer Vienna State Opera Orchestra |
| (6) Lieder, Movement: No. 4, Mit deinen blauen Augen (wds. Heine: 1903-0 |
Richard Strauss, Composer
Anonymous Pianist(s), Piano Anonymous Violinist(s), Violin Lotte Lehmann, Soprano Richard Strauss, Composer |
Author:
When this famous set came for review, in a reissue on World Records (12/73—nla), I wrote that certain old recordings, this clearly being one of them, ''should always be available in the current catalogue under one label or another''. Now I'd like to add that it should always be accompanied in Gramophone by a reprint of an earlier review (2/61) by Alec Robertson. He wrote as one who had heard all four principal singers in their roles on stage, some of them many times, and to whom their performances meant more, in all probability, than even his very eloquent words could tell. He supplemented his comments on the recording with memories of (for instance) Lehmann standing there at the open door in Act 3, compelling attention by the authority of her presence of the radiant, adorable person Schumann made of the young Sophie, and (interestingly) of Olczewska as ''the best exponent of the part I ever heard... the most credible of Octavians as a young man''. Of Mayr's Ochs he noted the conformity to Strauss's declared intentions for the character; he is ''a bounder inwardly'', which, said AR, ''is precisely what Mayr conveys with much artistry though he may sound too reserved for those who have only known the outward buffoon''.
That review, in 1961, concluded that this ''most successfully produced transfer'' was now available ''for endless delight''. So indeed is that of 1993, and perhaps by this date it becomes less needful to add the warnings which I have always thought it wise to give in case the prospect of 'endless delight' in the set should prove disappointing. No one now needs to be reminded that a Rosenkavalier which lasts rather less than one hour and 40 minutes is not the full work (though perhaps some will share, if only in secret, the original reviewer, Herman Klein's relief that ''the recording was not too terribly long''). Nor will there be over-optimistic hopes concerning the orchestral sound as recorded. Of the famous principals, Olczewska may seem too lush and maturely feminine, Schumann too fond of portamento, Lehmann too little varied in coloration and in the pointing of detail. Equally it will be found that each hearing yields some new pleasure—Olczewska (for instance) in the beauty of voice, Schumann in the vividness and spontaneity of her portrayal, Lehmann in her gaiety and human warmth. Mayr and the other soloists have the authentic Viennese manner and accent, which becomes increasingly important too. In the old days, people were so apt to sigh for the absent Bruno Walter that they failed to give due credit to Robert Heger, who has the merit of not imposing himself on the music but letting it speak with its own natural voice.
EMI have produced a good, full-bodied sound from the 1933 recording. The voices stand out well, and surface-crackle scarcely intrudes at all. In such respects, and in the joins between the original 78rpm sides, this version improves on the Pearl transfers ((CD) GEMMCDS9365, 3/90). Where Pearl gain in the comparison is in their greater openness: one is less aware of congestion. Pearl also offer a useful facility in their booklet: score-references are given, whereas EMI have only a summary. For fill-ups Pearl have an excellent choice of rarities, such as excerpts from Die aegyptische Helena under Busch with Rose Pauly as soloist. EMI offer an equally fine, though less rare, collection of songs. Lehmann's Standchen being particularly charming, tender and ardent, while Schumann's singing of Morgen is one of the loveliest of soprano solos on record.'
That review, in 1961, concluded that this ''most successfully produced transfer'' was now available ''for endless delight''. So indeed is that of 1993, and perhaps by this date it becomes less needful to add the warnings which I have always thought it wise to give in case the prospect of 'endless delight' in the set should prove disappointing. No one now needs to be reminded that a Rosenkavalier which lasts rather less than one hour and 40 minutes is not the full work (though perhaps some will share, if only in secret, the original reviewer, Herman Klein's relief that ''the recording was not too terribly long''). Nor will there be over-optimistic hopes concerning the orchestral sound as recorded. Of the famous principals, Olczewska may seem too lush and maturely feminine, Schumann too fond of portamento, Lehmann too little varied in coloration and in the pointing of detail. Equally it will be found that each hearing yields some new pleasure—Olczewska (for instance) in the beauty of voice, Schumann in the vividness and spontaneity of her portrayal, Lehmann in her gaiety and human warmth. Mayr and the other soloists have the authentic Viennese manner and accent, which becomes increasingly important too. In the old days, people were so apt to sigh for the absent Bruno Walter that they failed to give due credit to Robert Heger, who has the merit of not imposing himself on the music but letting it speak with its own natural voice.
EMI have produced a good, full-bodied sound from the 1933 recording. The voices stand out well, and surface-crackle scarcely intrudes at all. In such respects, and in the joins between the original 78rpm sides, this version improves on the Pearl transfers ((CD) GEMMCDS9365, 3/90). Where Pearl gain in the comparison is in their greater openness: one is less aware of congestion. Pearl also offer a useful facility in their booklet: score-references are given, whereas EMI have only a summary. For fill-ups Pearl have an excellent choice of rarities, such as excerpts from Die aegyptische Helena under Busch with Rose Pauly as soloist. EMI offer an equally fine, though less rare, collection of songs. Lehmann's Standchen being particularly charming, tender and ardent, while Schumann's singing of Morgen is one of the loveliest of soprano solos on record.'
R. Strauss Der Rosenkavalier & Lieder
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