Strauss, Johann Zugeunerbaron
A generously filled CD of Strauss’s operetta in an authentically Austrian style overseen by the veteran conductor Rudolf Bibl
View record and artist detailsRecord and Artist Details
Composer or Director: Johann Strauss II
Label: Classics
Magazine Review Date: 4/2001
Media Format: CD or Download
Media Runtime: 78
Catalogue Number: 74321 75506-2

Tracks:
Composition | Artist Credit |
---|---|
(Der) Zigeunerbaron, '(The) Gipsy Baron' |
Johann Strauss II, Composer
Andreas Schagerl, Tenor Burgenland Symphony Orchestra Christine Bath, Soprano Elena Batoukova, Mezzo soprano Harrie Van der Plas, Tenor Heinz Zednik, Tenor Helmut Berger-Tuna, Bass Johann Strauss II, Composer Konrad Huber, Bass Martina Serafin, Soprano Mörbisch Festival Choir Peter Edelmann, Bass Rudolf Bibl, Conductor Siegrid Martikke, Soprano |
Author: Andrew Lamb
This Zigeunerbaron continues the series of recordings of the annual operetta production of the Morbisch Festival on Austria’s Neusiedlersee that have appeared on BMG’s bargain Arte Nova label over the past five years. Using leading Austrian, rather than international, singers, the performances are all in the true Viennese tradition.
Of the principals, Harrie van der Plas sounds ill at ease at the start of Barinkay’s introductory aria but warms up later to display a most pleasing voice with ringing high notes. Elena Batoukova is especially impressive as Czipra, offering fruitiness of tone and a most impressive top. Martina Serafin, who I believe is daughter of the Intendant of the Festival, is undoubtedly challenged by the demands of Saffi’s Gipsy Song; but that can equally be said of those who have attempted the role in full-price recordings. It does, though, make one long for the inimitable Elisabeth Schwarzkopf in EMI’s classic 1954 version. The same applies no less to Helmut Berger-Tuna’s solid, earthy Zsupan compared with Erich Kunz’s uniquely characterised interpretation for EMI. Veteran Viennese conductor Rudolf Bibl paces the score expressively and without exaggeration, if again not quite matching the inspiration of EMI’s Otto Ackermann. It’s good that the EMI has been reissued again (see above).
The score is necessarily abridged here to fit onto one very full CD. Full marks, though, for including at least a verse of one of the most melodic numbers in the score – the ‘Decency Commission’ song. It’s also a pleasure to welcome a cameo performance from Heinz Zednik as Carnero.
What, in my book, has counted against some of the recordings in this Morbisch series is a tendency to rewrite the text. Happily, that is apparent here only in some new verses for Zsupan’s Third Act ‘Von des Tajos Strand’. Overall, you won’t find the superb characterisation and outstanding singing of EMI’s 1954 recording, or the solid authenticity of Nikolaus Harnoncourt’s more recent Teldec recording, but, as a bargain competitor with modern sound and full German text and English synopsis, this undoubtedly offers splendid value.'
Of the principals, Harrie van der Plas sounds ill at ease at the start of Barinkay’s introductory aria but warms up later to display a most pleasing voice with ringing high notes. Elena Batoukova is especially impressive as Czipra, offering fruitiness of tone and a most impressive top. Martina Serafin, who I believe is daughter of the Intendant of the Festival, is undoubtedly challenged by the demands of Saffi’s Gipsy Song; but that can equally be said of those who have attempted the role in full-price recordings. It does, though, make one long for the inimitable Elisabeth Schwarzkopf in EMI’s classic 1954 version. The same applies no less to Helmut Berger-Tuna’s solid, earthy Zsupan compared with Erich Kunz’s uniquely characterised interpretation for EMI. Veteran Viennese conductor Rudolf Bibl paces the score expressively and without exaggeration, if again not quite matching the inspiration of EMI’s Otto Ackermann. It’s good that the EMI has been reissued again (see above).
The score is necessarily abridged here to fit onto one very full CD. Full marks, though, for including at least a verse of one of the most melodic numbers in the score – the ‘Decency Commission’ song. It’s also a pleasure to welcome a cameo performance from Heinz Zednik as Carnero.
What, in my book, has counted against some of the recordings in this Morbisch series is a tendency to rewrite the text. Happily, that is apparent here only in some new verses for Zsupan’s Third Act ‘Von des Tajos Strand’. Overall, you won’t find the superb characterisation and outstanding singing of EMI’s 1954 recording, or the solid authenticity of Nikolaus Harnoncourt’s more recent Teldec recording, but, as a bargain competitor with modern sound and full German text and English synopsis, this undoubtedly offers splendid value.'
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