Vienna State Opera Live, Vol. 1
View record and artist detailsRecord and Artist Details
Composer or Director: Charles-François Gounod, Julius Benedict, Vincenzo Bellini, Gioachino Rossini, Richard Wagner, Eugen (Francis Charles) d' Albert, Giuseppe Verdi, Richard Strauss, Pyotr Ilyich Tchaikovsky, Franz Lehár
Label: Koch Schwann
Magazine Review Date: 7/1994
Media Format: CD or Download
Media Runtime: 146
Mastering:
Mono
ADD
Catalogue Number: 314512
Tracks:
Composition | Artist Credit |
---|---|
(Der) Rosenkavalier, Movement: Wie du warst! Wie du bist |
Richard Strauss, Composer
Bella Paalen, Contralto (Female alto) Clemens Krauss, Conductor Eva Hadrabová, Soprano Hermann Gallos, Tenor Koloman von Pataky, Tenor Maria Gerhart, Soprano Richard Mayr, Bass Richard Strauss, Composer Vienna State Opera Orchestra Viorica Ursuleac, Soprano |
(Der) Rosenkavalier, Movement: Selbstverständlich empfängt mich Ihro Gnaden |
Richard Strauss, Composer
Bella Paalen, Contralto (Female alto) Clemens Krauss, Conductor Eva Hadrabová, Soprano Hermann Gallos, Tenor Koloman von Pataky, Tenor Maria Gerhart, Soprano Richard Mayr, Bass Richard Strauss, Composer Vienna State Opera Orchestra Viorica Ursuleac, Soprano |
(Der) Rosenkavalier, Movement: Macht das einen lahmen Esel aus mir? |
Richard Strauss, Composer
Bella Paalen, Contralto (Female alto) Clemens Krauss, Conductor Eva Hadrabová, Soprano Hermann Gallos, Tenor Koloman von Pataky, Tenor Maria Gerhart, Soprano Richard Mayr, Bass Richard Strauss, Composer Vienna State Opera Orchestra Viorica Ursuleac, Soprano |
(Der) Rosenkavalier, Movement: ~ |
Richard Strauss, Composer
Bella Paalen, Contralto (Female alto) Clemens Krauss, Conductor Eva Hadrabová, Soprano Hermann Gallos, Tenor Koloman von Pataky, Tenor Maria Gerhart, Soprano Richard Mayr, Bass Richard Strauss, Composer Vienna State Opera Orchestra Viorica Ursuleac, Soprano |
(Der) Rosenkavalier, Movement: Di rigori armato |
Richard Strauss, Composer
Bella Paalen, Contralto (Female alto) Clemens Krauss, Conductor Eva Hadrabová, Soprano Hermann Gallos, Tenor Koloman von Pataky, Tenor Maria Gerhart, Soprano Richard Mayr, Bass Richard Strauss, Composer Vienna State Opera Orchestra Viorica Ursuleac, Soprano |
(Der) Rosenkavalier, Movement: Mein lieber Hippolyte |
Richard Strauss, Composer
Bella Paalen, Contralto (Female alto) Clemens Krauss, Conductor Eva Hadrabová, Soprano Hermann Gallos, Tenor Koloman von Pataky, Tenor Maria Gerhart, Soprano Richard Mayr, Bass Richard Strauss, Composer Vienna State Opera Orchestra Viorica Ursuleac, Soprano |
(Der) Rosenkavalier, Movement: Da geht er hin |
Richard Strauss, Composer
Bella Paalen, Contralto (Female alto) Clemens Krauss, Conductor Eva Hadrabová, Soprano Hermann Gallos, Tenor Koloman von Pataky, Tenor Maria Gerhart, Soprano Richard Mayr, Bass Richard Strauss, Composer Vienna State Opera Orchestra Viorica Ursuleac, Soprano |
(Der) Rosenkavalier, Movement: Mit Ihren Augen voll Tränen |
Richard Strauss, Composer
Bella Paalen, Contralto (Female alto) Clemens Krauss, Conductor Eva Hadrabová, Soprano Hermann Gallos, Tenor Koloman von Pataky, Tenor Maria Gerhart, Soprano Richard Mayr, Bass Richard Strauss, Composer Vienna State Opera Orchestra Viorica Ursuleac, Soprano |
(Der) Rosenkavalier, Movement: Ist ein Traum (Finale). |
Richard Strauss, Composer
Bella Paalen, Contralto (Female alto) Clemens Krauss, Conductor Eva Hadrabová, Soprano Hermann Gallos, Tenor Koloman von Pataky, Tenor Maria Gerhart, Soprano Richard Mayr, Bass Richard Strauss, Composer Vienna State Opera Orchestra Viorica Ursuleac, Soprano |
Eugene Onegin, Movement: Faint echo of my youth (Kuda, kuda, kuda vi udalils aria) |
Pyotr Ilyich Tchaikovsky, Composer
Charles Kullman, Tenor Hugo Reichenberger, Conductor Pyotr Ilyich Tchaikovsky, Composer Vienna State Opera Orchestra |
Otello, Movement: Fuoco di gioia! |
Giuseppe Verdi, Composer
Giuseppe Verdi, Composer Victor de Sabata, Conductor Vienna State Opera Chorus Vienna State Opera Orchestra |
(Il) Barbiere di Siviglia, '(The) Barber of Seville', Movement: Largo al factotum |
Gioachino Rossini, Composer
Aldo Sinnone, Tenor Gioachino Rossini, Composer Giuseppe del Campo, Conductor Luigi Montesanto, Baritone Toti dal Monte, Soprano Vienna State Opera Orchestra |
(Il) Barbiere di Siviglia, '(The) Barber of Seville', Movement: ~ |
Gioachino Rossini, Composer
Aldo Sinnone, Tenor Gioachino Rossini, Composer Giuseppe del Campo, Conductor Luigi Montesanto, Baritone Toti dal Monte, Soprano Vienna State Opera Orchestra |
Variations de concert sur le Carnaval de Venise |
Julius Benedict, Composer
Giuseppe del Campo, Conductor Julius Benedict, Composer Toti dal Monte, Soprano Vienna State Opera Orchestra |
(La) Sonnambula, Movement: ~ |
Vincenzo Bellini, Composer
Aldo Sinnone, Tenor Giuseppe del Campo, Conductor Toti dal Monte, Soprano Vienna State Opera Chorus Vienna State Opera Orchestra Vincenzo Bellini, Composer |
Aida, Movement: ~ |
Giuseppe Verdi, Composer
Gertrud Rünger, Mezzo soprano Giacomo Lauri-Volpi, Tenor Giuseppe Verdi, Composer Hugo Reichenberger, Conductor Vienna State Opera Orchestra |
Tannhäuser, Movement: Beglückt darf nun (Pilgrims' Chorus) |
Richard Wagner, Composer
Gertrud Rünger, Mezzo soprano Josef Kalenberg, Tenor Richard Wagner, Composer Robert Heger, Conductor Rudolf Bockelmann, Bass-baritone Vienna State Opera Chorus Vienna State Opera Orchestra |
Tannhäuser, Movement: ~ |
Richard Wagner, Composer
Gertrud Rünger, Mezzo soprano Josef Kalenberg, Tenor Richard Wagner, Composer Robert Heger, Conductor Rudolf Bockelmann, Bass-baritone Vienna State Opera Chorus Vienna State Opera Orchestra |
Tannhäuser, Movement: Inbrunst im Herzen (Rome narration) |
Richard Wagner, Composer
Gertrud Rünger, Mezzo soprano Josef Kalenberg, Tenor Richard Wagner, Composer Robert Heger, Conductor Rudolf Bockelmann, Bass-baritone Vienna State Opera Chorus Vienna State Opera Orchestra |
Tannhäuser, Movement: Willkommen, ungetreuer Mann! |
Richard Wagner, Composer
Gertrud Rünger, Mezzo soprano Josef Kalenberg, Tenor Richard Wagner, Composer Robert Heger, Conductor Rudolf Bockelmann, Bass-baritone Vienna State Opera Chorus Vienna State Opera Orchestra |
(Die) Meistersinger von Nürnberg, '(The) Masters, Movement: Prelude |
Richard Wagner, Composer
Felix Weingartner, Conductor Richard Wagner, Composer Vienna State Opera Orchestra |
Parsifal, Movement: Grausamer! Fühlst du im Herzen |
Richard Wagner, Composer
Felix Weingartner, Conductor Kerstin Thorborg, Mezzo soprano Richard Wagner, Composer Vienna State Opera Orchestra |
Tiefland, Movement: ~ |
Eugen (Francis Charles) d' Albert, Composer
Eugen (Francis Charles) d' Albert, Composer Julius Pölzer, Tenor Karl Alwin, Conductor Rose Pauly, Soprano Vienna State Opera Orchestra |
Faust, Movement: Le veau d'or |
Charles-François Gounod, Composer
Charles Kullman, Tenor Charles-François Gounod, Composer Ezio Pinza, Bass Karl Alwin, Conductor Vienna State Opera Chorus Vienna State Opera Orchestra |
Faust, Movement: ~ |
Charles-François Gounod, Composer
Charles Kullman, Tenor Charles-François Gounod, Composer Ezio Pinza, Bass Karl Alwin, Conductor Vienna State Opera Chorus Vienna State Opera Orchestra |
(Der) Ring des Nibelungen: Part 4, 'Götterdämmerung', Movement: Helle Wehr! Heilige Waffe! |
Richard Wagner, Composer
Anny Konetzni, Soprano Felix Weingartner, Conductor Josef von Manowarda, Bass Lauritz Melchior, Baritone Lauritz Melchior, Tenor Richard Wagner, Composer Vienna State Opera Chorus Vienna State Opera Orchestra |
(Der) Ring des Nibelungen: Part 4, 'Götterdämmerung', Movement: Zu neuen Taten |
Richard Wagner, Composer
Anny Konetzni, Soprano Felix Weingartner, Conductor Josef von Manowarda, Bass Lauritz Melchior, Baritone Lauritz Melchior, Tenor Richard Wagner, Composer Vienna State Opera Chorus Vienna State Opera Orchestra |
(Der) Ring des Nibelungen: Part 4, 'Götterdämmerung', Movement: Starke Scheite (Brünnhildes's Immolation) |
Richard Wagner, Composer
Felix Weingartner, Conductor Kirsten Flagstad, Soprano Richard Wagner, Composer Vienna State Opera Orchestra |
(Der) Ring des Nibelungen: Part 4, 'Götterdämmerung', Movement: Mein Erbe nun nehm' ich zu eigen |
Richard Wagner, Composer
Felix Weingartner, Conductor Kirsten Flagstad, Soprano Richard Wagner, Composer Vienna State Opera Orchestra |
(Der) Ring des Nibelungen: Part 4, 'Götterdämmerung', Movement: Fliegt heim, ihr Raben! |
Richard Wagner, Composer
Felix Weingartner, Conductor Kirsten Flagstad, Soprano Richard Wagner, Composer Vienna State Opera Orchestra |
Lohengrin, Movement: Mein Herr und Gott, nun ruf'ich Dich |
Richard Wagner, Composer
Anny Konetzni, Soprano Emil Schipper, Baritone Hans Knappertsbusch, Conductor, Bass Ludwig Hofmann, Bass Luise Helletsgruber, Soprano Richard Wagner, Composer Torsten Ralf, Tenor Vienna State Opera Chorus Vienna State Opera Orchestra |
Lohengrin, Movement: ~ |
Richard Wagner, Composer
Josef Krips, Conductor Maria Hussa, Soprano Richard Wagner, Composer Torsten Ralf, Tenor Vienna State Opera Orchestra |
Giuditta, Movement: ~ |
Franz Lehár, Composer
Franz Lehár, Composer Franz Lehár, Conductor Richard Tauber, Tenor Vienna State Opera Orchestra |
Author:
The fascination remains. Partly it has to do with a feeling for period (these recordings start, ominously enough, in the month which was to end with the instalment of Hitler as Chancellor of Germany); partly it is a matter of scholarly interest in changing styles of performance. For most of us, I imagine, the excitement derives essentially from the prospect of the stage suddenly lighting up, to reveal a singer we knew only within the confines of the old recording studios, now vivid and free, before a live public. In the pit, moreover, will be conductors such as Furtwangler, Walter, Knappertsbusch and Krauss.
Here, in this first volume, it is 'Curtain up' on a Rosenkavalier under Krauss, with his wife, Viorica Ursuleac, as the Marschallin. The orchestral sound is bright, almost piercing, and, encouragingly, the opening fortissimo obliterates the surface-scrabble that emerges (but not too obtrusively) later. The playing has the authentic Viennese sweetness and verve, and in general comes out better than the singing. This is not distinguished. Occasionally a delicacy in Ursuleac's way with the text does something to explain the regard in which she was held, and Richard Mayr's big voice and bold characterization help somewhat to persuade that his Ochs was indeed all it was said to be. The pretty silver of Maria Gerhart's Sophie shines gently in ''Ist ein Traum''. But the moment to cherish is the start of the Italian tenor's song, which Koloman von Pataky sings ravishingly, and that, alas, fades away in its prime.
Roughly 25 minutes of Der Rosenkavalier are followed by bits and pieces presented according to some not easily discernible system. Never mind: here is Charles Kullman in fine voice and clear recorded sound, singing Lensky's aria from Eugene Onegin, with plenty of time to expand the phrases and plenty of imagination to colour and shape them, though they still take none too kindly to his Germanic emotional emphasis. De Sabata gets fine precision from the orchestra in the ''Fuoco di gioia'' chorus from Otello. And then comes La Toti. This is one of the surprises and delights. Borrowed from La Scala, Dal Monte makes two rare appearances, as a Rosina full of fun in the second half of her aria, then as Amina in La sonnambula, with charming pathos in her recitative leading into what promises to be a delectable ''Ah! non credea mirarti'' until, after a phrase or two, the sound is extinguished like the love of which she sings, the recording-sheet's four to five minutes of life being up. The singing is not beyond criticism, but it is lovely to come face to face with this crystalline beauty of tone and the strength of personality that lies within these childlike utterances: exactly the kind of thing that impresses itself most indelibly.
The excerpt from Aida which follows has Gertrude Runger as a magnificent Amneris, and, as her Radames, we are told, Lauri-Volpi; I think it's Pertile, and would gladly learn more. That finishes the Italian opera, and most of the rest is Wagner. Torsten Ralf was evidently a fine Lohengrin, but his ''Hochstes Vertraun'' plays (damagingly) a semitone below score-pitch. Bockelmann is too heavy and Hagen-like for Wolfram, and Thorborg (heard as opposed to heard and seen) does not provide instant revelation as Kundry. But Melchior shines out, and Flagstad is nobility itself. Sweetmeats conclude the feast: Tauber and Novotna in Guiditta, with Lehar conducting, and Herr May well stationed with best-quality wax or gelatine to preserve at least five minutes of the first world-premiere to come his way.'
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